The Hong Kong Joy of Music Festival 2021

The Chopin Society of Hong Kong

The Hong Kong Joy of Music Festival In partnership with:

mdw – University of Music and Performing Arts Vienna 10th - 19th October 2021 Hong Kong City Hall Concert Hall - Hong Kong mdw – University of Music and Performing Arts Vienna

Presentations LIVE either in Hong Kong or in Vienna and in all cases streamed live (in real time, point to point) to either Vienna or Hong Kong as it might be the case

The Joy of Music Festival 2021 at a glance Sunday, 10th October 2021

Alvaro Pierri (guitar) & The LOGOS Chamber Group: Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello), Rick Stotijn (double bass) & Gilberto Pereyra (bandoneon) & Giuseppe Andaloro (piano) & Honggi Kim (piano) Live Concert in Vienna ( mdw – University of Music and Performing Arts Vienna) Live Streaming in real time from Vienna to The Hong Kong City Hall Concert Hall PROGRAMME

• • • • •

GIULIANI Concerto Op.30, for guitar and string quintet BOGDANOVIC Hong Kong Ricercars, for guitar and piano PIAZZOLLA Tres Piezas for guitar PIAZZOLLA “Histoire du Tango” for violin and guitar PIAZZOLLA “Double Concerto” for guitar, bandoneon, piano and string orchestra

Monday, 11th October 2021

Honggi Kim (piano) & Members of The LOGOS Chamber Group: Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello), Rick Stotijn (double bass) Live Concert in Vienna ( mdw – University of Music and Performing Arts Vienna) Live Streaming in real time from Vienna to The Hong Kong City Hall Concert Hall PROGRAMME

• • • •

MOZART Fantasie in C minor, K.475 HAYDN Sonata No.38 in F major, Hob.XVI:23 HUMMEL Piano Quintet in E flat minor, Op.87 SCHUBERT Piano Sonata in B flat major, D.960

Tuesday, 12th October 2021

Giuseppe Andaloro (piano) & Members of the LOGOS Chamber Group: Michael Brooks Reid (violin), Rick Stotijn (double bass) Live Concert in Vienna ( mdw – University of Music and Performing Arts Vienna) Live Streaming in real time from Vienna to The Hong Kong City Hall Concert Hall PROGRAMME

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LUCA MARENZIO Cosi nel mio parlar voglio esser aspro LUZZASCO LUZZASCHI Quiri Sospiri TCHAIKOVSKY Francesca da Rimini RACHMANINOV O ne rydai, mai Paolo from Francesca da Rimini BULOW-LISZT Sonetto di Dante: Tanto gentile e tanto onesta WOLF-FERRARI Cantica su parole di Dante: Sonetto No.10 LISZT Apres du lecture du Dante ∞ Giuseppe Andaloro (piano) & Members of the LOGOS Chamber Group • BOTTESINI Gran duo concertante

Wednesday, 13th October 2021 The LOGOS string quartet:

Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello) Rick Stotijn (double bass)

& Giuseppe Andaloro (piano) Live Concert in Vienna ( mdw – University of Music and Performing Arts Vienna) Live Streaming in real time from Vienna to The Hong Kong City Hall Concert Hall

PROGRAMME

• TABAKOV Motivy • YSAΫE Violin Sonata No.5, Op.27 • VIVALDI Concerto in E minor, RV 484 • SCHUBERT – Quartettsatz D703 • VIVALDI Aria ‘Vedro con mio diletto’ • HINDEMITH Sonata • PUCCINI Crisantemi • BOTTESINI Adagio Melanconico Appassionato • VIVALDI Concerto in G minor RV 531

Thursday, 14th October 2021

Luka Okros (piano) & Anastasia Kobekina (cello) & Members of the LOGOS Chamber Group: Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello) Live Concert in Vienna ( mdw – University of Music and Performing Arts Vienna) Live Streaming in real time from Vienna to The Hong Kong City Hall Concert Hall

PROGRAMME

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STRAVINSKY Italian Suite FRANCK Cello Sonata in in A major RACHMANINOV Cello Sonata in G minor, Op.19 FALLA El amor brujo: Pantomime and Ritual Fire Dance

Friday, 15th October 2021 The Simply Quartet:

Danfeng Shen (violin), Antonia Rankersberger (violin), Xiang Lyu (viola), Ivan Valentin Hollup Roald (cello) Live Concert in Vienna ( mdw – University of Music and Performing Arts Vienna) Live Streaming in real time from Vienna to The Hong Kong City Hall Concert Hall

PROGRAMME

• • • •

MOZART String Quartet No.21 in D major, K.575 FANNY MENDELSSOHN-HENSEL String Quartet in E flat major STRAVINSKY Three Pieces for String Quartet DVORAK String Quartet No.14 in A flat major, Op.105

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Saturday, 16th October 2021

Homage to CAMILLE SAINT- SAËNS on the Centenary of his death ~ Programme 1~

Orchestra: The Hong Kong Philharmonic Orchestra Soloists: Colleen Lee (piano), Wang Liang (violin) Conducted by: Maestro

YVES ABEL

Live Concert in The Hong Kong City Hall Concert Hall Live Streaming in real time from Hong Kong to mdw – University of Music and Performing Arts Vienna

PROGRAMME

• • • •

SAINT- SAËNS Phaéton, Op.39 SAINT- SAËNS Violin Concerto No.3 in B minor, Op.61 SAINT- SAËNS Le Rouet d’Omphale, Op.31 SAINT- SAËNS Piano Concerto No.2 in G minor, Op.22

Sunday, 17th October 2021

Homage to CAMILLE SAINT- SAËNS on the Centenary of his death ~ Programme 2~

Orchestra: The Hong Kong Philharmonic Orchestra Soloists: Rachel Cheung (piano), Wang Liang (violin), Richard Bamping (cello) Conducted by: Maestro

YVES ABEL

Live Concert in The Hong Kong City Hall Concert Hall Live Streaming in real time from Hong Kong to mdw – University of Music and Performing Arts Vienna

PROGRAMME

• • • •

SAINT- SAËNS La Muse et le Poète, Op.132 SAINT- SAËNS Cello Concerto No.1 in A minor, Op.33 SAINT- SAËNS Piano Concerto No.5 in F major, Op.103 SAINT- SAËNS Danse macabre, Op.40

Monday, 18th October 2021 Jinsang Lee (piano) Live Concert in Vienna ( mdw – University of Music and Performing Arts Vienna) Live Streaming in real time from Vienna to The Hong Kong City Hall Concert Hall

PROGRAMME

• • •

GRIEG Lyric Pieces GRIEG Holberg Suite SCHUBERT Piano Sonata No.20 in A major, D.959

Tuesday, 19th October 2021 Emanuil Ivanov (piano) Live Concert in Vienna ( mdw – University of Music and Performing Arts Vienna) Live Streaming in real time from Vienna to The Hong Kong City Hall Concert Hall

PROGRAMME

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RAMEAU Suite in G minor (Nouvelles suites de pieces de clavecin) BRAHMS Variations and Fugue on a Theme by Handel, Op.24 HAMELIN Études Nos.11 & 12 LISZT Trois Études de Concert, S.144 LISZT Reminiscences de Norma, S.384

CREATING A MUSICAL BUBBLE BETWEEN THE HONG KONG CITY HALL CONCERT HALL AND mdw – University of Music and Performing Arts Vienna: The Presentation of the Hong Kong Joy of Music Fes tival, 2021 It would be impossible to refer to this year’s presentation of the Hong Kong Joy of Music Festival without making reference to the COVID 19 pandemic, which has been determining the way things are being done in more ways than one, all over the world.

A lot of people have lost their lives and many more have had their livelihood affected by suffering and by the consequences of having suffered this viral infection.

Different countries have adopted different policies in order to stop the spread of this infection but there is a common denominator to all these policies which is the need to keep isolated all those infected people in order to protect all others from being infected and the application of mass vaccination campaigns the speed of which vary enormously from country to country.

All this has played havoc in Societies globally and musical presentations are not, of course, immune to all these problems.

Although we are of the strong opinion that live performances will never be substituted by streamed ones, we are nowadays having access to ver y acceptable alternatives made possible by the advances in technology which has come to the rescue and has defined new fields of communication which are here to stay, not as substitutes but to co - exist with the tr aditional ways we are accustome d to. A nd that is how we star ted thinking of the hybrid for mat to present our HK Joy of Music Festival – 2021. A game changer that made all of this possible, was the privilege of having be en a ble to enter into a pa r tner s hip, for the pr e sent ation of this Fe s tiva l, with mdw – University of Music and Performing Arts Vienna, to whom we are deeply thankful.

On the assumption that it will be more likely that artists will be able to move between European countries without the need to quarantine, the latter seeming to be the likely situation if they were to come to Hong Kong, we organized for 8 of the 10 performances part of the Festival to take place live in Vienna and the other two to take place live in Hong Kong. The ones taking place in Vienna will be streamed live, in real time, to Hong Kong (each of the 8 performances will take place at mdw – University of Music and Performing Arts Vienna, at 2pm so that they will be presented, streamed live, in real time, at 8pm at the City Hall Concert Hall in Hong Kong).

And in the case of the two performances which will take place at the City Hall Concert Hall in Hong Kong, they will be streamed live, in real time, to mdw – University of Music and Performing Arts Vienna (each of the 2 performances will take place at 8pm in Hong Kong so they will be streamed live at 2pm in Vienna).

In all 10 cases, there will be a live audience both in Vienna and in Hong Kong.

The two performances that will be presented live in Hong Kong will be by the Hong Kong Philharmonic Orchestra, conducted by Maestro Yves Abel, performing an all Saint Saëns programme, commemorating the 100th year anniversary of his death.

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On Saturday 16th Oct., the programme will comprise of two symphonic works, the violin concerto No.3 (soloist: Wang Liang) and the piano concerto No.2, (soloist: Colleen Lee).

On Sunday 17th Oct., the programme will comprise of two symphonic works, the cello concerto No.1 (soloist: Richard Bamping), the piano concerto No.5 (soloist: Rachel Cheung) and the duo concertante for violin, cello and orchestra: La Muse et le Poète (soloists: Wang Liang and Richard Bamping).

The remaining 8 concerts will take place live in Vienna and will be streamed live, in real time, to the Hong Kong City Hall Concert Hall, and will be featuring the following artists: Opening the Festival, we will be presenting Alvaro Pierri (guitar), whose concerts have been a highlight and a permanent feature in our yearly Joy of Music Festival, since its inception.

Himself a Professor of Guitar at mdw – University of Music and Performing Arts Vienna, he will be offering a programme mostly of chamber music performed with the Logos Chamber Group, and in collaboration also with Gilberto Pereyra (bandoneon) and Giuseppe Andaloro (piano) and Honggi Kim (piano). mdw – University of Music and Performing Arts Vienna will be further represented by their star Chamber ensemble: The Simply Quartet, formed by Danfeng Shen (violin), Antonia Rankersberger (violin), Xiang Lyu (viola) and Ivan Valentin Hollup Roald (cello).

The Chopin Society of Hong Kong is proud to count with its own Chamber Group, (the LOGOS Chamber Group) consisting of four distinguished string players who have been playing together during its annual Joy of Music Festivals and its triennial HK International Piano Competitions.

They are: Michael Brooks Reid (violin), Magnus Johnston (violin), Joel Hunter (viola) and Pierre Doumenge (cello). This year, we are delighted to welcome a new artist to be part of the LOGOS Chamber Group: Rick Stotijn (double bass) Each one of the five HK International Piano Competitions which the Society has presented so far, has contributed its First Prize Winner as an additional member of our Winners Club who, among other engagements, are invited every year to perform during the HK Joy of Music Festival. So far, the members of the Winners Club are: Ilya Rashkovskiy (Competition 2005), Jinsang Lee (Competition 2008), Giuseppe Andaloro (Competition 2011), Luka Okros (Competition 2016) and Honggi Kim (Competition 2019). Giuseppe Andaloro, Ilya Rashkovskiy and Honggi Kim will be giving solo piano performances during this Festival, combining their solo recitals with chamber music playing with members of the Logos Chamber Group. Luka Okros will be giving a cello and piano recital together with Anastasia Kobekina and they will be joined by the Logos Chamber Group to perform a piece by de Falla, while Jinsang will be giving a solo piano recital.

Last but not least, closing the Festival, we will be presenting a solo piano recital by Emanuil Ivanov, First prize winner of the Bussoni Competition 2019.

In these difficult times, we hope you will join us in the safety of the musical bubble Hong Kong – Vienna and enjoy the Festival !!!

The Chopin Society of Hong Kong Ltd

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Sunday, 10th October

Hong Kong 20:00 / Vienna 14:00

Alvaro Pierri (guitar) & The LOGOS Chamber Group: Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello), Rick Stotijn (double bass) & Gilberto Pereyra (bandoneon) & Giuseppe Andaloro (piano) & Honggi Kim (piano) Live Concert in Vienna - Streaming in real time from Vienna to Hong Kong Live in Vienna

14:00

Streaming to Hong Kong

20:00

Future Art Lab, mdw – University of Music and Performing Arts Vienna The Hong Kong City Hall Concert Hall

Live Audience both in Hong Kong and in Vienna

PROGRAMME First Part

Mauro Giuliani (1781 – 1829) • Concerto Op.30, for guitar and string quintet

I – Allegro maestoso II – Siciliano - Andantino III – Polonaise - Allegretto

Alvaro Pierri (guitar), Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello), Rick Stotijn (double bass) 8

Dusan Bogdanovic (1955) • Hong Kong Ricercars, for guitar and piano (dedicated to Alvaro Pierri and to The Hong Kong International Piano Competition 2019, which commissioned it)

I – Allegretto

II – Trasparente

III – Allegro Honggi Kim (piano) Alvaro Pierri (guitar)

INTERMISSION Second Part

Homage to ASTOR PIAZZOLLA on the Centenary of his birth Astor Piazzolla (1921 – 1992) •

Tres Piezas for guitar

I – Verano Porteño II – Tristón III – Compadre

Alvaro Pierri (guitar)

•

“Histoire du Tango” for violin and guitar

I – Bordel 1900 II – Café 1930 III – Nightclub 1960 IV – Concert d’aujourd’hui

Michael Brooks Reid (violin) Alvaro Pierri (guitar)

•

“ Double Concerto” for guitar, bandoneon, piano and string orchestra

I – Introducción II – Milonga III – Tango

Alvaro Pierri (guitar) Gilberto Pereyra (bandoneon) Giuseppe Andaloro (piano) The LOGOS Chamber Group: Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello) Rick Stotijn (double bass)

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PROGRAMME NOTES GIULIANI Concerto in A major, Op.30 BOGDANOVIC Hong Kong Ricercars PIAZZOLLA Tres Piezas – Histoire du Tango – Double Concerto The Italian guitarist-composer Mauro Giuliani played the cello and violin before discovering his love for the guitar. Already a guitar virtuoso, he moved to Vienna in 1806, becoming acquainted with Beethoven and Rossini, as well as Austrian society’s upper class. He composed and published works while maintaining concert tours all over Europe. Performing with great concert artists of the day, he was acclaimed and celebrated for virtuosity and musical taste. Giuliani returned to Italy in 1819, finally settling in Naples. He appeared frequently in duo concerts with his daughter Emilia, also a skilled guitarist.

A critic said of his expressive playing, “He vocalised his adagios. Melodies in slow movements were no longer short and unavoidable staccatos, but invested with a character that was earnest and rich in pathos. He made the instrument sing.”

Giuliani’s Guitar Concerto Op.30 is a masterpiece of 19th century guitar repertory. While better known in its orchestral version, it was also published in an arrangement for guitar and string quartet. Its virtuoso fireworks often give way to beautiful moments where the lyricism of Italianate melodies meets with Austro-Bohemian folk-inspired themes. Giuliani’s performance of this concerto in 1808 at the Redoutensaal (Vienna) was enthusiastically received. A review in the Allgemeine Musikalische Zeitung hailed him as “perhaps the greatest of all living guitarists,” and the concerto, “the most outstanding composition that has yet been written for and performed on this instrument.”

Hong Kong Ricercars was composed by Serbian guitarist-composer Dusan Bogdanovic, and dedicated to Alvaro Pierri and the Hong Kong International Piano Competition. Commissioned as a set-piece for the 2019 competition, these have been described by Pierri as jewels of artistic maturity and aesthetic sensibility. Establishing a poetic dialogue between piano and guitar, these illustrate Bogdanovic’s genius for language synthesis, melded in polyrhythms and unique textures.

Dusan Bogdanovic writes: Two things make writing for piano-guitar duo challenging. First, the sheer volume imbalance which requires delicate treatment. Second, as the guitar is both a melodic and polyphonic instrument, it could be considered a “mini piano”.

When Alvaro asked me to write a work for piano and guitar, my approach was to avoid dynamic imbalance and textural redundancy. The result was one rich in color, texture and personality, functioning like one entity than as two separate instruments.

Hong Kong Ricercars was built around the concept of ricercar, considered an “ideal form” by Renaissance artists. It is a fluid polyphonic structure based on improvisatory treatments of melodic motifs. Having been involved in compositionimprovisation over many years, ricercar fits in perfectly with my own aesthetics, reflecting my interest in polyrhythm and modal music.

The melody of Hong Kong Ricercars is built on freely treated medieval chants and African rhythmic profiles. Although it has three movements, the material is founded on the same basic theme which shows up in many guises within the work.

This composition reveals the possibility of creating balanced structures by integrating the smallest building block-motifs of diverse origins into a coherent whole.

Astor Piazzolla was the world’s foremost composer of tango music. He revolutionised traditional tango by creating a new style called nuevo tango, which incorporated elements from jazz and classical music. He was also the most famous bandoneón player in history.

Piazzolla was of Italian descent, born near Buenos Aires, Argentina. He received his first bandoneón at the age of eight, and by fifteen began playing in tango orchestras. He formed his own orchestra in 1946, composing and experimenting with the sound and structure of tango, while also composing film music. A deep interest in classical music led him to study with famous French pedagogue Nadia Boulanger in Paris. She urged him to remain true to himself by continuing experiments with his twin passions, classical music and tango. Returning to Argentina, he formed the influential Quinteto Tango Nuevo in 1960, which featured violin, electric guitar, piano, double bass and bandoneón. His innovations were initially not well received in Argentina, but admired in USA and Europe. By the 1980s, new tango eventually featured in film scores, television programmes and commercials, thus influencing new generations of tango composers.

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Verano Porteño (Summer, 1965) is an arrangement for guitar of the first tango from Piazzolla’s Cuatro Estaciones Porteñas (Four Seasons of Buenos Aires). These are his impressions of the four seasons as experienced by a porteño, a native of the Argentine capital.

Tristón and Compadre are the two last pieces from Cinco Piezas (1980), five works inspired by the Five Bagatelles for guitar

by British composer William Walton. Tristón is a funeral march, a tribute to children who died during the Nigerian Civil War. Compadre refers to the gaucho from the Argentine countryside, whom after moving to the city, loses part of his cultural identity and values. Related to urban music of Buenos Aires, it is filled with tension and violence.

Histoire Du Tango (Story of the Tango, 1985) is an exciting and lively work, originally composed for flute and guitar, later transcribed for violin and guitar. Its four movements trace the origins of the tango, its musical and social evolution during the 20th century. Bordel 1900 relives music of bordellos in Buenos Aires, where the tango was born. A fusion of music by immigrants, its joyful and vivid nature reflects high spirits in those houses of ill repute. Café 1930 ushered in a new period of the tango, when movements became slower with new harmonies added. The music got more sophisticated but tinged with melancholy. In Nightclub 1960, global influences become assimilated, such as the Brazilian bossa nova. For Concert d’aujourd’hui, aspects of tango confront 20th century modern music represented by the likes of Bartok, Stravinsky, Prokofiev and others.

Astor Piazzolla wrote his Double Concerto (Hommage à Liege) for guitar, bandoneón and string orchestra for the Fifth International Guitar Festival of Liège (Belgium) in 1985. Piazzolla performed the bandoneón and Argentine Cacho Tirao the guitar part, accompanied by the Liège Philharmonic conducted by the Cuban guitarist-composer Leo Brouwer. In 1986, Alvaro Pierri was invited to play the concerto with Piazzolla in concert, with the performance recorded by German broadcasting station WDR, and DVD issued by Deutsche Grammophon.

The opening movement Introduction, Lentamente was written for the two solo instruments. About loneliness and longing, its seemingly unmeasured rhythm creates the impression of an improvisation. In the second movement’s Milonga (traditionally a vocal duet in question-and-answer form), both soloists continue their dialogue, but now with gently pulsing rhythms. This is a mix of tango and the 3+3+2 rhythm of the West African Yoruba, encountered in Brazilian folk and pop music. The third movement is pure Tango Nuevo, a fugato defined by choppy tango rhythms, adventurous harmonies, slapping percussion effects, and stylistic traits from South American popular music and classical music.

Programme notes by Alvaro Pierri and Dusan Bogdanovic

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Monday, 11th October Hong Kong 20:00 / Vienna 14:00

Honggi Kim (piano) &

Members of The LOGOS Chamber Group: Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello), Rick Stotijn (double bass)

Live Concert in Vienna - Streaming in real time from Vienna to Hong Kong Live in Vienna

14:00

Streaming to Hong Kong

20:00

Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienna The Hong Kong City Hall Concert Hall

Live Audience both in Hong Kong and in Vienna

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PROGRAMME First Part

Wolfgang Amadeus Mozart (1756 – 1791) • Fantasie in C minor, K.475 Adagio – Allegro – Andantino – Piu allegro – Tempo primo Honggi Kim (piano)

Franz Joseph Haydn (1732 – 1809) • Piano Sonata No.38 in F major, Hob XVI/23

I – Allegro moderato II – Adagio III – Finale . Presto

Honggi Kim (piano)

Johann Nepomuk Hummel (1778 – 1837) • Piano Quintet in E flat minor, Op.87

I – Allegro e risoluto assai II – Minuet: allegro con fuoco III – Largo IV – Finale: allegro agitato

Honggi Kim (piano) Catherina Lee (violin) Joel Hunter (viola) Pierre Doumenge (cello) Rick Stotijn (double bass)

INTERMISSION Second Part

Franz Schubert (1797 – 1828) • Piano Sonata in B flat major, D.960

I – Molto moderato II – Andante sostenuto III – Scherzo IV – Allegro ma non troppo

Honggi Kim (piano)

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PROGRAMME NOTES MOZART Fantasie in C minor, K.475 HAYDN Sonata No.38 in F major, Hob.XVI:23 HUMMEL Piano Quintet in E flat minor, Op.87 SCHUBERT Piano Sonata in B flat major, D.960 Honggi Kim’s piano recital is a celebration of the first Viennese school and establishment of classical traditions. It begins with Wolfgang Amadeus Mozart’s austere and forward-looking Fantasie in C minor (K.475) from 1785, arguably his greatest stand-alone keyboard work. Its bold use of harmony, apparent dissonance and dynamic extremes point to a work from a later age, more Romantic than Rococo. There are five contrasting sections, each marked by a change in dynamics, tonality and mood. It os often played as a prelude to the Sonata of the same key (K.457), a work which shares its adventurousness harmonic asides and a common dedicatee, one Frau Therese von Trattner.

By contrast, Joseph Haydn’s Sonata in F major (Hob.XVI:23) from 1773 sounds almost carefree and untroubled. Dedicated to his patron Count Nikolaus Esterhazy, whose family he served as court composer from 1761 to 1803, the first movement is filled with the humour and wit he is often associated with. The mood shifts to melancholic in the Adagio slow movement, cast in F minor and guided by a gently rocking rhythm in triplets on the left hand. Its reverie soon gives way to the finale’s Presto, which will not strike one as being very fast but more playful in character.

Johann Nepomuk Hummel belongs to the group of Viennese composers, contemporary with Beethoven, whose music straddled the Classical and Romantic eras. A student of Haydn and Salieri, he is often remembered as the child who lodged in Mozart’s household during the great composer’s final years. There is little doubt that some of Mozart’s genius and proficiency had rubbed on the young man who became a celebrated piano virtuoso himself.

Hummel’s Piano Quintet in E flat minor, composed in 1802 and published in 1822, was written in four movements for piano, violin, viola, cello and double bass. This combination was likely to have served as the model for Franz Schubert’s very popular Trout Quintet. Hummel’s quintet, a work half its length, languishes in relative obscurity but not for want of thematic interest or splendid craftsmanship. The first movement opens with an imposing four-note motif, almost Beethovenian in its gruffness. The piano soon establishes itself as leader and the music gets more agitated and excitable. This urgency continues into the second movement’s Minuet and Trio. The ensuing Largo is not a true slow movement, instead a brief sojourn to the major key, serving as introduction to the finale. The early agitation returns with increasing florid piano writing, closing the work on an emphatic high.

The final trilogy of Franz Schubert’s 21 piano sonatas was completed just two months before his tragic and untimely demise in 1828. The final Sonata in B flat major (D.960) is characterised by an autumnal quality and heavenly length.

Depending on whether the pianist plays repeats, a performance may last from 45 minutes to almost an hour. This is an hour well spent, beginning with a broad and lyrical melody that seems to spell eternal timelessness. The repose is occasionally interrupted by low trills on G flat, sounding like distant rumbling thunder. The impending storm never arrives but there are surges of tension that varies the mood on and off, notably when the pianist performs the exposition repeat. The second movement is a reminiscence of Schubert’s world of lieder, the feeling of intimacy heightened with key changes from the frost of C sharp minor to radiating warmth in A major for the central section.

The first two movements (both slow) are disproportionately long compared with the final two fast movements. The Scherzo is light and breezy, played delicately (con delicatezza), contrasted with an off-kilter dance-like trio section in the minor key. The finale opens with a held G octave, a recurrent punctuation mark of this movement, from which a Hungarian-styled dance in C minor emerges. After several modulations and mood changes, the music eventually returns to the home key of B flat major, but that is in the Presto coda, which closes the sonata (as with Schubert’s own life) in a brief but emphatic blaze of glory.

Programme notes by Chang Tou Liang

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Tuesday, 12th October 2021 Hong Kong 20:00 / Vienna 14:00

PROGETTO DANTE (DANTE PROJECT) Homage to DANTE ALIGHIERI on the 700th Anniversary of his death

Giuseppe Andaloro (piano) Live Concert in Vienna - Streaming in real time from Vienna to Hong Kong Live in Vienna

14:00

Streaming to Hong Kong

20:00

Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienna The Hong Kong City Hall Concert Hall

Live Audience both in Hong Kong and in Vienna

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PROGRAMME First Part

Progetto Dante (Dante Project) - (First Part) • Luca Marenzio (1553-1599)

da “Madrigali a Cinque Voci, Libro 9, No.1” 1599: “Così nel mio parlar voglio esser aspro”

*

• Luzzasco Luzzaschi (1545-1607)

da “Secondo Libro di Madrigali a Cinque Voci” 1576: “Quivi sospiri”

• Pyotr Ilych Tchaikovsky (1840-1893) Francesca da Rimini, Op.32 - Fantasia per Orchestra

*

*

• Sergei Rachmaninov (1873-1943)

da “Francesca da Rimini”, Op.25 (Opera in un atto) “O ne rydai, mai Paolo”

*

• Hans von Bülow (1830-1894) - Franz Liszt (1811-1886) Sonetto di Dante “Tanto gentile e tanto onesta”, S.479

INTERMISSION

Second Part

Progetto Dante (Dante Project) - (Second Part) • Ermanno Wolf-Ferrari (1876-1948) da “La Vita Nuova”, Op.9 - Cantica su parole di Dante: Sonetto No.10

*

• Franz Liszt (1811-1886)

“Après une lecture du Dante: Fantasia quasi Sonata” - da “Les Années de pèlerinage”, Deuxième année : Italie (S 161)

* Transcriptions by Giuseppe Andaloro Giuseppe Andaloro (piano) & Members of the LOGOS Chamber Group: Michael Brooks Reid (violin), Rick Stotijn (double bass)

• Giovanni Bottesini (1821-1889) Gran duo concertante

Michael Brooks Reid (violin)

Rick Stotijn (double bass)

Giuseppe Andaloro (piano)

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PROGRAMME NOTES LUCA MARENZIO Cosi nel mio parlar voglio esser aspro LUZZASCO LUZZASCHI Quiri Sospiri TCHAIKOVSKY Francesca da Rimini RACHMANINOV O ne rydai, mai Paolo from Francesca da Rimini BULOW-LISZT Sonetto di Dante: Tanto gentile e tanto onesta WOLF-FERRARI Cantica su parole di Dante: Sonetto No.10 LISZT Apres du lecture du Dante

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Giuseppe Andaloro (piano) & Members of the LOGOS Chamber Group BOTTESSINI Gran Duo Concertante This year marks the 700th death anniversary of Florentine poet and philosopher Dante Alighieri (1265-1321), an event commemorated by Italian pianist Giuseppe Andaloro in his tribute concert entitled Progetto Dante (Dante Project). All the pieces in the programme were either inspired by Dante’s works or musical settings of his poetry, five of which were transcribed by Andaloro himself for solo piano.

Giuseppe Andaloro writes: Dante Alighieri was the great Italian poet, prose writer, literary theorist, moral philosopher and political thinker. He is best known for the monumental epic poem La commedia, later named La divina commedia (The Divine Comedy). Dante’s Divine Comedy, a landmark in Italian literature and among the greatest works of all medieval European literature, is a profound Christian vision of humankind’s temporal and eternal destiny. On its most personal level, it draws on Dante’s own experience of exile from his native city of Florence. On its most comprehensive level, it may be read as an allegory, taking the form of a journey through Hell (Inferno), Purgatory (Purgatorio) and Paradise (Paradiso).

Ver y few musical settings of Dante’s verses have reached us through his contemporaries. Broadly speaking, compositions on his subjects were neither numerous during his own time nor in the following centuries. Dante’s literature was rediscovered thanks to the cultural spirit of the Renaissance and the flourishing of vocal polyphony. Luca Marenzio (1553-1599) and Luzzasco Luzzaschi (1545-1607) are best remembered as composers of madrigals, secular songs for voices, usually settings of poetry.

Cosi nel mio parlar voglio esser aspro (So in my speech I want to be harsh) comes from Marenzio’s Ninth Book of Madrigals (1599). This was probably written before Dante’s exile (c.1296-98), belonging to a collection entitled Rime per la donna di pietra (Rhymes for the stone woman). The poet describes the extreme violence with which a woman and Love itself attacked his soul, pushing him to the verge of suicide. He wishes for a change with which Love defeats the woman’s cruelty by making her feel his pain and later his magnanimity. The cruelty of women is an innovative element if compared with the stylistic tradition that often represented Love as cruel.

Quiri Sospiri is part of Luzzaschi’s Second Book of Madrigals (1576), a setting from Canto III of Inferno, evoking a horrifying scene of “sighs, wailing and loud laments” when the condemned stand before the gates of hell. Both madrigals were written for five voices, with impressive dissonances vividly captured in Andaloro’s transcriptions.

Piotr Tchaikovsky’s symphonic fantasy Francesca da Rimini rivals his fantasy-overture Romeo and Juliet in popularity.

It is a programmatic representation of Canto V of Inferno, where Dante meets with Francesca who relates her illfated romance with Paolo Malatesta, the brother of her crippled husband Lanceotto. Caught in flagrante delicto, the couple has been murdered and consigned to the second circle of hell, where the lustful are tormented for eternity. The orchestral work describes a fiery descent into the abyss, followed by a typically Tchaikovskyan melody representing Francesca’s passion (heard on clarinet solo) before flames eventually seal the fate of the lovers. Andaloro’s transcription of the orchestral score faithfully captures the music’s lushness and fine details.

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The same story is the subject of Sergei Rachmaninov’s 1904 single-act opera of the same title, with libretto from Tchaikovsky’s brother Modest. Francesca’s aria O ne rydai, mai Paolo (Oh do not weep, my Paolo) takes place in the opera’s Second Tableau, after Paolo confesses his love to her, knowing fully well that she is his brother Lanceotto’s wife.

In her heartfelt aria, they are to experience their forbidden passion “beyond the earth’s boundaries… in the bright blue of the skies”.

The famous German pianist-conductor Hans von Bulöw became Franz Liszt’s son-in-law, having married the latter’s daughter Cosima in 1857. Bulöw’s setting of the Dante sonnet (So kind and so honest), a love poem to Beatrice from La Vita Nuova (The New Life, 1283-93), is a miniature masterpiece of gentle lyricism, eloquently rendered in Liszt’s transcription. The same might not be said of Cosima, who cuckolded Bulöw and ran off to marry Richard Wagner, but that is another story.

Dante continued to inspire even in the 20th century, attested by Italian-German opera composer Ermanno Wolf-Ferrari’s La Vita Nuova, a 1902 cantata for soprano, baritone, mixed choir, organ, piano and orchestra based on Dante’s texts.

The same sonnet, Tanto gentile e tanto onesta, now opens the second part of the cantata, just before the untimely death of Dante’s idealised love Beatrice. In contrast with Bulöw’s setting, Wolf-Ferrari takes on a more carefree and lighthearted tone, and is no less lyrical in Andaloro’s transcription.

The project closes with Franz Liszt’s Aprés du lecture du Dante (After a reading of Dante) or simply the Dante Sonata (1849), final piece from the Italian book of Années de pèlerinage (Years of Pilgrimage). Programme music of the most graphic kind, this is a wild ride into the heart of Inferno. The fates of lovers Paolo and Francesca are intertwined with the work’s three main themes. The first is the descending tritone, the interval so dissonant as to be deemed diabolus in musica (the devil in music), played in bare octaves. The second is agitated and chromatic, depicting torments of the damned trapped in leaping tongues of flames. The third is in a major key, signifying hope and redemption. The brilliant interplay of all three themes is the most thrilling aspect of this sonata-fantasy. When the redemption theme is heard, in scintillating D major, towards the end, one knows that despite all trials and tribulations, salvation is at hand.

To complete the concert, Giuseppe and members of the Logos Chamber Group performs the Gran Duo Concertante

by Giovanni Bottessini (1821-1889). The Italian bassist, conductor and composer, whose 200th birth anniversary is also commemorated, had been hailed as the “Paganini of the double bass”. Ironically he only picked up the instrument at the Milan Conservatory because all other vacancies for instrumental studies had been filled. Nevertheless he revolutionised the instrument as a vehicle of technical and solo prowess, over and above its role as mere accompaniment. His compositions were influenced by the lyricism of bel canto opera, emphasising singing qualities despite operating in extreme low registers.

Bottesini’s Grand Duo Concertante was composed in 1880, originally conceived for two basses and orchestra.

Adapted by violinist Camillo Sivori for violin and bass with accompaniment, it has become Bottesini’s best known work.

Performed as a single movement, the showpiece opens dramatically in A minor, ushering both instruments with a showy flourish. An intimate conversation ensues, aria-like and now in A major, like a romance of two operatic characters. The pace later picks up, with the original martial character of the music giving way to an air of comic relief and lightness, with the requisite virtuosity which closes the work on a cheerful high.

Programme notes by Giuseppe Andaloro & Chang Tou Liang

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Wednesday, 13th October 2021 Hong Kong 20:00 / Vienna 14:00

Rick Stotijn (double bass) The LOGOS string quartet: Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello)

Giuseppe Andaloro (piano) Live Concert in Vienna - Streaming in real time from Vienna to Hong Kong Live in Vienna

14:00

Streaming to Hong Kong

20:00

Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienna The Hong Kong City Hall Concert Hall

Live Audience both in Hong Kong and in Vienna

PROGRAMME First Part

Emil Tabakov (1947) • Motivy Rick Stotijn (double bass)

Eugène Ysaÿe (1858 – 1931) • Violin Sonata No.5, Op.27

I – L’Aurore

II – Danse rustique Catherina Lee (violin)

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Antonio Vivaldi (1678 – 1741) • Concerto in E minor, RV 484

I – Adagio – Allegro molto

II –Allegro - Adagio

III – Allegro Rick Stotijn (double bass), Pierre Doumenge (cello), Giuseppe Andaloro (piano)

Franz Schubert (1797 – 1828) • Quartettsatz, in C minor, D703

I – Allegro assai The LOGOS String Quartet

INTERMISSION

Second Part

Antonio Vivaldi (1678 – 1741) • Aria ‘Vedro con mio diletto’ Rick Stotijn (double bass), Giuseppe Andaloro (piano)

Paul Hindemith (1895 – 1963) • Sonata

I – Leicht bewegt

II – Langsam – Marsch - Pastorale Pierre Doumenge (cello), Giuseppe Andaloro (piano)

Giacomo Puccini (1858-1924) • Crisantemi The LOGOS String Quartet

Giovanni Bottesini (1821 – 1889) • Adagio Melanconico Appassionato Rick Stotijn (double bass), The LOGOS String Quartet

Antonio Vivaldi (1678 – 1741) • Concerto in G minor, RV 531

I – Allegro II – Largo

III – Allegro Rick Stotijn (double bass), Pierre Doumenge (cello), Giuseppe Andaloro (piano)

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PROGRAMME NOTES TABAKOV Motivy YSAŸE Sonata in G major, Op.27 No.5 VIVALDI Concertos RV.484 & 531 VIVALDI Vedro con mio diletto SCHUBERT Quartettsatz HINDEMITH Bassoon Sonata PUCCINI Crisantemi BOTTESINI Adagio Melancolico ed Appassionato

A well-known conductor with an impressive discography and composer of no less than ten symphonies, the Bulgarian Emil Tabakov (born 1947) is also a double bass virtuoso. Motivy (Motives) for solo double bass, composed in 1968, has become one of his most performed works. Founded on a simple theme (or motif), the bass improvises on its few notes while establishing a sequence that alternates between slow (largo a piacere) and very fast (prestissimo). Glissandi, well-placed accents and droning octaves lend the piece a folk-like and jazzy feel all through its impressive display of bass virtuosity.

The Belgian Eugène Ysaÿe was for good reason hailed “King of the Violin”. Not since Paganini had a violinist captured hearts and imagination of audiences with mesmerising virtuosity non pareil. His set of six Sonatas for unaccompanied violin Op.27, composed in 1923, are the 20th century counterpart to Paganini’s 24 Caprices in terms of savage technical demands and play of polyphony. Each sonata was dedicated to a fellow virtuoso of the time, the beneficiary of the Fifth Sonata in G major being Mathieu Crickboom, second violinist of Ysaÿe’s own string quartet. The work is in two movements, beginning with the calm of L’Aurore (Dawn), with nascent sunlight breaking through with a series of arpeggios before the more animated Danse Rustique (Rustic Dance) takes over. Multiple-stopping relives the drone of country music, as the music barrels its way to a frenetic conclusion.

It has been a running joke that Antonio Vivaldi composed the same concerto five hundred times. This is far from the truth, especially when one remembers the variety of themes and nuances experienced in Four Seasons, the four violin concertos which have become his runaway success hit. Vivaldi helped establish the concerto, essentially an Italian invention, as the dominant vehicle for instrumental virtuosity.

He was credited to have composed no less than 39 bassoon concertos. The Concerto in E minor RV.484, with cello replacing bassoon in this concert, is a good example of the fast-slow-fast three-movement form. Strings open the work with the cello coming in later, the solo part being clearly delineated. The minor key and cello’s lower registers lend an air of pathos to the work. Quite different is the Concerto in G minor RV.531 for two cellos, where both solo instruments play from the beginning, as if part of the general ensemble. For this concert, one of the cellos is replaced by double bass, but their voices still blend well together. Despite the minor key, the overall tone is spirited and cheerful.

The aria Vedro con mio diletto (I will see with joy), a favourite of counter-tenors, comes from Vivaldi’s 1724 opera Giustino.

Set to words by Nicolo Beregan, this is a lament of one who has been parted from his beloved. Its beautiful flowing lines, a cry from both heart and soul, sound just as haunting when heard on double bass.

In 1820, Franz Schubert began work on a string quartet, and like some of his greatest music – notably the “Unfinished” Symphony – was left incomplete. Despite his relatively young age of 23, this solitary Quartet Movement in C minor, published as late as in 1870, is a work of maturity. Its opening bristles with agitation and nervous tension but its dominance is broken with a broad and soaring melody heard on first violin. The contrasting subjects vie for prominence in this compact movement in sonata form, and its busyness never flags for a moment. A short and abrupt chordal ending brings to mind the devastating close of Schubert’s chilling lied Die Erlkonig (The Erl King).

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German composer Paul Hindemith was a renowned violist but had a working knowledge of every string, wind and brass instrument in the orchestra. He composed some 26 sonatas for these instruments, as solos as well as accompanied by piano. Such compositions were known as Gebrauchsmusik (utility music), works that served the purposes of learning and instruction. Far from being boring and didactic, these well-crafted pieces are loved by instrumentalists for their wit and droll humour. Hindemith’s Bassoon Sonata (1938), now heard on the cello, is in two movements, the first in lilting sicilienne rhythm, while longer second comes in three separate parts. A flowing melody gets disrupted by a grotesque goose-stepping march before returning to the earlier gentle lilt in the form of a pastorale.

The great operas of Giacomo Puccini have far overshadowed his non-vocal works. Of these, arguably the best known is the string quartet movement Crisantemi (Chrysanthemums), composed within one evening in 1890, in response to a death in the Savoia royal family. Commonly associated with funerals and mourning, the symbolism of the blooms comes across strongly in the work’s sombre mood with poignant moments for reflection. It was later adapted into the score of Puccini’s tragic verismo opera Manon Lescaut.

As previously mentioned, the Italian Giovanni Bottesini’s moniker as the “Paganini of the double bass” came almost by accident. When he applied for a place in the Milan Conservatory, most of the scholarship positions had been snapped up, leaving only vacancies for just two instruments: bassoon and double bass. However within a few weeks, he had mastered sufficient technique on the bass to secure that prized scholarship. Bottesini’s Adagio melanconico ed Appassionato, also called Elegie par Ernst, was composed in honour of the Moravian violinist Heinrich Wilhelm Ernst who died in 1865. It is a moving slow movement that builds up to a heart-felt and climactic high, a worthy tribute from one great virtuoso to another.

Programme notes by Chang Tou Liang

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Thursday, 14th October 2021 Hong Kong 20:00 / Vienna 14:00

Luka Okros (piano) Anastasia Kobekina (cello) The LOGOS Chamber Group: Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Pierre Doumenge (cello)

Live Concert in Vienna - Streaming in real time from Vienna to Hong Kong Live in Vienna

14:00

Streaming to Hong Kong

20:00

Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienna The Hong Kong City Hall Concert Hall

Live Audience both in Hong Kong and in Vienna

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PROGRAMME First Part

Igor Stravinsky (1882-1971) • Italian Suite

I – Introduzione II – Serenata III – Aria IV – Tarantella V – Minuetto e Finale

Luka Okros (piano) & Anastasia Kobekina (cello)

César Franck (1822 – 1890) • Sonata in A major for cello and piano

I – Allegretto ben moderato II – Allegro III – Recitativo-Fantasia (ben moderato) IV – Allegretto poco mosso

Luka Okros (piano) & Anastasia Kobekina (cello)

INTERMISSION Second Part

Sergei Rachmaninov (1873-1943) • Sonata for Piano and Cello, Op. 19

I – Lento – Allegro moderato (G minor) II – Allegro scherzando (C minor) III – Andante (E-flat major) IV – Allegro mosso (G major)

Luka Okros (piano) & Anastasia Kobekina (cello)

Manuel de Falla (1876 – 1946) • El Amor Brujo (for piano, 2 violins, viola, cello and double bass) Luka Okros (piano), Michael Brooks Reid (violin), Catherina Lee (violin), Joel Hunter (viola), Anastasia Kobekina (cello), Pierre Doumenge (cello)

I – Pantomima (Pantomime)

II – Danza Ritual del Fuego ( Ritual Fire Dance)

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PROGRAMME NOTES STRAVINSKY Italian Suite FRANCK Cello Sonata in in A major RACHMANINOV Cello Sonata in G minor, Op.19 FALLA El amor brujo: Pantomime and Ritual Fire Dance When Igor Stravinsky composed his neoclassical one-act ballet Pulcinella in 1919, he sought inspiration and used music by old Italian composers Giovanni Pergolesi and others. The result was a delightful sequence of song and dance involving characters from the world of commedia dell’arte. From the ballet, he fashioned the popular Pulcinella Suite for orchestra and several other instrumental suites. Among the latter, there are two versions of Suite Italienne, one each for violin and cello, both accompanied by piano. The suite for cello (1932) was crafted in collaboration with the great Russian cellist Gregor Piatigorsky, which is different from its better-known violin counterpart.

The suite opens with the rousing mock-pompous Introduction, also the ballet’s Overture. This is followed by the Serenata and Aria, both originally vocal movements adapted from Pergolesi’s opera Il Flaminio. The latter was based on a comic buffo aria sung by the bass-baritone, plumbing lower registers and hence does not appear in the version for violin.

Likewise, the Gavotte and Scherzino of the violin version is not heard here. Following a swift and swirling Tarantella (a fast Neapolitan dance in 6/8 time), a plodding slow Minuetto leads directly to the extroverted Finale, which optimistically trumpets the notion that all’s well that ends well.

Cesar Franck’s Sonata in A major for violin and piano is one of the most beloved works of the chamber repertoire. It was composed in 1886 as a wedding present for Belgian violinist Eugene Ysaÿe. At its first public performance at the Brussels Museum of Modern Painting, Ysaÿe and his piano collaborator had to perform much of the four-movement work from memory and in semi-darkness as no artificial illumination was allowed in the venue despite the late hour.

After attending a performance, the cellist Jules Delsart suggested that it would sound equally good on the cello, and thus worked on a cello version with the composer’s sanction. The piano part remained unchanged while the cello part was adapted to suit lower register with minimal changes. It has since established itself firmly in a cellist’s repertoire.

The sonata opens with an air of dreamy wistfulness. The first movement’s themes reappear in later movements but in different guises, which is the basis of Franck’s cyclical form. It is no secret that the piano has the more technically demanding part, best heard in the exhilarating second movement. The third movement’s Recitativo-Fantasia sounds improvisatory, reliving earlier themes while introducing new ones. The beloved finale is a canon, where the piano leads with one of Franck’s best melodies and the cello following one measure behind. This not so much a game of catch-up but a showcase of contrapuntal mastery, with both instrumentalists in one accord throughout despite never playing in unison!

The year 1901 was an important one for Russian composer Sergei Rachmaninov. Recovering from a bout of depression and the composer’s version of writer’s block (brought about by the disastrous premiere of his First Symphony in 1897), he was to have a new burst of creative activity. Spurred on by psychiatrist Nikolai Dahl’s sessions of hypnotherapy and autosuggestion, he completed three of his most melodious and popular compositions, the Second Suite for two pianos (Op.17), Second Piano Concerto (Op.18) and his only Cello Sonata (Op.19).

Conceived on a grand scale, the four movement work is symphonic in scope and longer than any of the cello sonatas by Beethoven and Brahms. It was dedicated to the Russian cellist Anatoly Brandukov, who gave the first performance (with composer at the piano) and later became Rachmaninov’s best man at his wedding.

The first movement opens with a slow and mystical introduction, and the piano’s short and impulsive outburst leads directly into the main Allegro section. Its two themes are contrasted, the first more impulsive and dynamic, while the second dreamy and chant-like. The relentless energy continues into the second movement’s stormy scherzo, where torrents of notes from the piano threaten to overwhelm the cello. As the cello has comparatively fewer notes to negotiate, the balance between both instruments is vital. No such problems exist in the lovely Andante slow movement, one of Rachmaninov’s most lyrical utterances. The busy finale bustles in a tarantella rhythm while also luxuriating in yet another of the composer’s big melodies. This compositional device sounds familiar as it is also heard in the Second Suite, First Piano Sonata and Second Symphony with equally great success. As a reminiscence, the impulsive piano motif from the opening movement eventually returns, driving the movement to a brilliant conclusion.

Manuel de Falla was one of Spain’s best loved composers, a pioneer of Spanish nationalism in music. His one-act ballet El Amor Brujo (Love The Magician) was composed in 1914-15, comprising a sequence of recitations, songs and dances.

Its story is about an Andalucian gypsy girl Candela, who is haunted by the ghost of her dead lover but redeemed by the much-alive suitor Carmelo through sorcery and black magic.

The two most popular numbers in the ballet are performed in reverse order in this transcription for piano and string quintet.

The Pantomime begins dramatically with the motif that opens the ballet before dissolving to a poignant melody expressing tenderness and regret. The Ritual Fire Dance is Falla’s most recognisable piece of music. Delighting in trills and stamping rhythms while invoking dark spirits, the music is vigorously propelled by raw energy and primal forces.

Programme notes by Chang Tou Liang

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Friday, 15th October 2021 Hong Kong 20:00 / Vienna 14:00

The Simply Quartet Danfeng Shen (violin), Antonia Rankersberger (violin), Xiang Lyu (viola), Ivan Valentin Hollup Roald (cello)

Live Concert in Vienna - Streaming in real time from Vienna to Hong Kong Live in Vienna

14:00

Streaming to Hong Kong

20:00

Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienna The Hong Kong City Hall Concert Hall

Live Audience both in Hong Kong and in Vienna

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PROGRAMME First Part

Wolfgang Amadeus Mozart (1756 – 1791) • String Quartet No.21 in D major, K. 575 (Prussian Quartet No.1)

I – Allegretto II – Andante III – Menuetto & Trio. Allegretto IV – Allegretto

Fanny Hensel Mendelssohn (1805 – 1847) • String Quartet in E-flat major

I – Adagio ma non troppo II – Allegretto III – Romanze IV – Allegro molto vivace

INTERMISSION Second Part

Igor Stravinsky (1882 – 1971) • Three pieces for String Quartet

I – Danse II – Eccentrique III – Cantique

Antonin Dvorak (1841– 1904) • String Quartet No.14 in A flat major, Op. 105

I – Adagio ma non troppo - Allegro II – Molto vivace III – Lento e molto cantabile IV – Allegro ma non troppo

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PROGRAMME NOTES MOZART String Quartet No.21 in D major, K.575 FANNY MENDELSSOHN-HENSEL String Quartet in E flat major STRAVINSKY Three Pieces for String Quartet DVORAK String Quartet No.14 in A flat major, Op.105 Although Joseph Haydn has been credited as “Father of the string quartet”, Wolfgang Amadeus Mozart is also considered as much a pioneer of the genre. He composed 23 string quartets, the final three of which have been nicknamed the “Prussian Quartets”. These were written in 1789-90 for King Frederick William II of Prussia, the cello-playing nephew and successor of Frederick the Great, for whom Beethoven also dedicated his Op.5 pair of cello sonatas.

The first movement is bright and optimistic in feel, its broad main melody a close relative to that which opens Mozart’s Piano Concerto No.12 (K.414). His ingenuity ensures that both these movements diverge and develop differently while maintaining the same cheerful spirit. The slow movement is graceful and courtly, and similarities to the corresponding movement of the serenade Eine Kleine Nachtmusik (K.525) may also be cited. Also notable is an increasingly prominent role played by the cello. In the Trio section of the third movement Menuetto, the instrument is rewarded with a plum melody of its own, a sure way of Mozart ingratiating himself with the cello-loving monarch. The finale’s theme is a variant of the opening movement’s, thus lending a certain unity to the work as a whole, and continuing the congenial mood all through to the end.

Fanny Mendelssohn-Hensel (1805-1847) was the beloved older sister of the German composer Felix Mendelssohn. An impressive prodigy herself, she was to suppress her talents at an era when societal norms deemed it not befitting for a woman to have a musical career. She composed about 450 works, mostly songs and piano pieces, some of which were published under his brother’s name. The very first Opus published in her own name, a collection of Lieder, came out in 1846. Within a year, she was to die from a ruptured brain aneurysm, a familial condition that was to claim the life of Felix just a few months later.

Fanny’s chamber music includes a piano trio, a piano quartet and the String Quartet in E flat major, composed in 1834. This relatively neglected quartet is highly accomplished, while acknowledging the influence of great composers who have come and gone. The brief first movement is slow and reflective, recalling Beethoven’s neuroses. What follows is a scherzo of elfin and feathery lightness which has become typical and even expected of the Mendelssohns. The third movement’s Romanze is much more than a “song without words”, invested with harmonic adventurousness and emotional impact revealing a maturity that even surpasses her brother’s. The finale is passionate and angst-filled till its final pages, which erupt with ebullience and unfettered joy.

Coming shortly after the riotous reception to his ballet The Rite of Spring, the Three Pieces for string quartet from 1914 by Igor Stravinsky are similarly modernistic in character. Its movements were initially given only metronome markings but later assumed titles after their orchestration by the composer as Etudes for orchestra. It is quite easy to understand why they are sometimes known as Grotesques for string quartet.

The opening Danse recalls the primal violence, jagged and percussive rhythms of The Rite of Spring. The second movement Excentrique is startling in its spare and minimal textures, not far from the Second Viennese School sounds of Schoenberg and Webern. The solemnity of the final Cantique is instilled with a breath of spirituality, looking forward to Stravinsky’s liturgical works of his later years.

The Bohemian composer Antonin Dvorak composed fourteen string quartets, of which the Twelfth (Op.96, also known as the “American” Quartet) is most often performed and recorded. Work on String Quartet No.14 began when Dvorak was still in New York, then completing his tenure as Director of the National Conservatory of Music. It was finished in late 1895, after his return to Prague. Unlike the famous “American” quartet, which included native and Afro-American influences, this considerably longer four-movement work is more in the traditional mould of Central-European quartets.

Its first movement opens slowly with a Beethovenian intensity, but soon the main theme shifts from the minor key into A flat major. Entering into the Allegro appassionato main section has the feeling of sunshine emerging through dark clouds. This volte-face and regular shifts between major and minor modes define the movement’s drama. The highly spirited second movement is a scherzo and trio much in the spirit of Dvorak’s Slavonic Dances, particularly the fast and lively furiant.

The beautiful slow third movement opens with a hymn-like countenance. Later alternating between brooding and folk-like charm, it becomes the emotional core of the work. The last movement, also the longest, introduces a number of themes united by a driving ostinato motif heard at its outset. Interestingly, this rhythmic motif also appears in Dvorak’s symphonic poem A Hero’s Song (Op.111). This is last heard in the major key towards the end, leading the work to its triumphant conclusion.

Programme notes by Chang Tou Liang

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Saturday, 16th October 2021

Programme 1

Hong Kong 20:00 / Vienna 14:00

Homage to

Camille Saint- Saëns

(1835 – 1921)

on the Centenary of his death

Programme 1 Orchestra: The

Hong Kong Philharmonic Orchestra

Soloists: Wang Liang (violin), Colleen Lee (piano) Conducted by: Maestro

Yves Abel

Live Concert in Hong Kong - Streaming in real time from Hong Kong to Vienna Live in Hong Kong

Streaming to Vienna

20:00 14:00

The Hong Kong City Hall Concert Hall Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienn

Live Audience both in Hong Kong and in Vienna 32

PROGRAMME First Part

• Phaéton - Symphonic poem, Op.39 • Violin Concerto No. 3 in B minor, Op. 61

I - Allegro non troppo II - Andantino III - Molto moderato Soloist: Wang Liang (violin)

INTERMISSION Second Part

• Le Rouet d’Omphale, Symphonic poem, Op. 31 • Piano Concerto No.2 in G minor, Op.22

I - Andante sostenuto II - Allegro scherzando III - Presto Soloist: Colleen Lee (piano)

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PROGRAMME NOTES Phaéton, Op.30 Violin Concerto No.3 in B minor, Op.61 Symphony No.2 in A minor, Op.55 Piano Concerto No.2 in G minor, Op.22 This year marks the 100th death anniversary of Camille Saint-Saëns (1835-1921), a remarkably prolific composer renowned for his Gallic charm, musical facility, consummate craftsmanship, mastery of form and conservatism. He was wellread, highly cultured and had an insatiable appetite for world travel. His longevity was also astound, spanning years as a Parisian child prodigy when Chopin and Mendelssohn were still alive, being mentored by Berlioz and Gounod, attending the premiere of Stravinsky’s The Rite of Spring, outliving the First World War, and confronting the musical onslaught led by Schoenberg and his Second Viennese School. This pair of concerts by the Hong Kong Philharmonic Orchestra conducted

by Yves Abel celebrates his legacy by reliving some of his best-loved orchestral works besides introducing several rarities.

One rarely-heard piece is the symphonic poem Phaéton, unsurprising as the score demands an orchestra with two harps and four timpanis. This programmatic work from 1873 depicts the son of Helios (sun god of Greco-Roman mythology) riding through the heavens in a fiery chariot. Unable to control his horses, he comes perilously close to setting Earth ablaze but is brought crashing down by Jupiter’s thunderbolt. Brass chords open portentously before strings establish a galloping rhythm which gets increasingly excitable and frenzied. A heroic syncopated motif heard on the trumpet, signifying Phaéton’s bravado, also gets transformed as the work reaches its climax and his ultimate downfall. It is heard the final time as an elegy as his sisters mourn him before getting turned into poplar trees.

Of Saint-Saëns’ three violin concertos, only the Third remains in the concert repertory alongside his Havanaise and Introduction & Rondo Capriccioso, works of lyrical charm and outright virtuosity. The B minor concerto was dedicated to and premiered by the great Spanish virtuoso Pablo de Sarasate in 1880. The first movement opens in a stern tone of seemingly unyielding stolidity, but one which invites the soloist to skillfully navigate between outright seriousness and melting sweetness.

The latter quality infuses the slow second movement, which by total contrast, is a lilting sicilienne filled with sunny Mediterranean warmth. The finale is the concerto’s longest and most virtuosic movement. After a short but flashy introduction, a martial rhythm dominates the proceedings, one that prides in its outlandish swagger. Two new themes, uplifting and possessing the sanctified quality of a chorale, are introduced by the orchestra and soon taken up by the violin. There is no titanic struggle between opposing forces, instead it is the latter themes that ultimately triumph amid scenes of levity and the obligatory blaze of solo pyrotechnics.

Despite the immense popularity of his Third Symphony (also called the “Organ” Symphony), it is not widely known that Saint-Saëns had actually composed five symphonies in total. His First Symphony in E flat major, a teenage effort, was premiered without his name revealed, such was the presenter’s lack of confidence. By 1859, when the Second Symphony in A minor was premiered, he was acknowledged as a rising master noted for adventurousness and modernity. After an introduction that might have coaxed listeners to imagine the opening of a violin concerto, the main content of the first movement is in fact a well-crafted fugue.

This was unusually progressive for its time, balanced by a short slow movement in A major that resembles the slower middle section of his First Cello Concerto. The musical material is barely developed, instead giving way to the third movement’s urgent-sounding Scherzo with a light-hearted dance-like Trio section as contrast. There is no return to the scherzo’s earlier section, as the finale’s furiously driven tarantella, a fast and swirling Neapolitan dance in triple time, takes over. This may be a tribute to the Saltarello finale of Mendelssohn’s Italian Symphony but elements from earlier movements are briefly heard before a headlong rush to the finish line.

The second of Saint-Saëns’ five piano concertos, composed in 1868, is by far the most regularly performed. It has an unusual form comprising a long slow movement followed by two short fast movements. The first movement opens with a solo piano cadenza anchored by a low G octave as pedal point, Bachian in character and full of serious intent. The orchestra’s dramatic entry does little to lighten the mood but the piano soon builds up an imposing edifice that alternates between portentousness and an air of Gallic informality. Saint-Saëns was himself a piano prodigy and organ virtuoso, both aspects of which are reflected in this music.

In stark contrast, the scherzo-like second movement is touched with Mendelssohnian wit and lightness, which soon descends farcically into a quick waltz. This is firmly held tongue-in-cheek, and one cannot deny its comedic charm. Even faster is the finale’s tarantella which does not let up on its relentless pace. It makes for a breathlessly exciting finish considering the concerto’s staid opening, leading one critic to quip that it “begins with Bach and ends with Offenbach”. A piano solo version of this concerto has been transcribed by no less than one Georges Bizet, composer of Carmen.

Programme notes by Chang Tou Liang

34

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Sunday, 17th October 2021

Programme 2

Hong Kong 20:00 / Vienna 14:00

Homage to

Camille Saint- Saëns

(1835 – 1921)

on the Centenary of his death

Programme 2 Orchestra: The

Hong Kong Philharmonic Orchestra

Soloists: Rachel Cheung (piano), Wang Liang (violin), Richard Bamping (cello) Conducted by: Maestro

Yves Abel

Live Concert in Hong Kong - Streaming in real time from Hong Kong to Vienna Live in Hong Kong

Streaming to Vienna

20:00 14:00

The Hong Kong City Hall Concert Hall Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienn

Live Audience both in Hong Kong and in Vienna

36

PROGRAMME First Part

• La Muse et le Poète, Op. 132, duo concertante for violin,

cello and orchestra

Soloists: Wang Liang (violin), Richard Bamping (cello)

• Cello Concerto No. 1 in A minor, Op. 33 Allegro non troppo – Allegro molto – Tempo I Allegretto con moto – Tempo I – Un peu moins vite Più allegro comme le premier movement – Molto allegro Soloist: Richard Bamping (cello)

INTERMISSION Second Part

• Piano Concerto No.5, in F major, Op.103 “The Egyptian”

I – Allegro animato II – Andante III – Molto allegro

Soloist: Rachel Cheung (piano)

• Danse macabre, Symphonic poem, Op. 40

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PROGRAMME NOTES La Muse et le Poète, Op.132 Cello Concerto No.1 in A minor, Op.33 Le Rouet d’Omphale, Op.31 Piano Concerto No.5 in F major, Op.103 Danse macabre, Op.40 Of Saint-Saëns’ assorted concertante works, the most unusual is what he described as a “conversation” between violin and cello. That began life as a piano trio movement which was later orchestrated in 1910. The publisher Durand titled it La Muse et la Poetè (The Muse and the Poet), a quite apt description, but not necessarily with his complete agreement. The muse and poet are represented by solo violin and cello respectively, whose voices are heard separately playing differing themes until almost a third through the work. The muse’s entreaties are initially met with indifference from the poet but the relationship gradually warms up, with the pair finally playing in unison towards the end. Such is the passion of an artistic consummation.

Saint-Saëns composed two cello concertos, of which the First in A minor (1873) is by far the popular favourite among soloists and in concert halls. The appeal comes from its directness and apparent brevity, comprising just a single movement in three discernible sections and running under twenty minutes. An opening orchestral chord sets the cello into motion, establishing a mood of urgency partly offset by a slower second theme which carries the concerto’s lyrical interest.

There is no actual slow movement but the interplay between very fast and less fast provides much needed contrast through the entire concerto. The central section is a lightly scored minuet where the cello engages in genial conversation with the orchestra’s thematic statements. This tête-à-tête is all too brief with a return to the busyness of the first part, where the virtuosity quotient of the soloist is raised several notches. Without further elaboration, a short-winded coda drives the concerto to a definitive and emphatic end.

Le Rouet d’Omphale (Omphale’s Spinning Wheel), composed in 1871, was the first of Saint-Saëns’ four symphonic poems inspired by myths of antiquity. The story involves mighty Hercules serving as a slave of Queen Omphale as penance for the murder of a friend. Swirling strings and chirpy woodwinds establish a perpetual motion describing the circular movement of a spinning wheel. Midway through, Hercules is heard on violas lamenting his toils. As further humiliation, he has also been forced to dress in women’s clothes. There is however a happy ending, indicated by a lightening of the music’s spirit and peaceable end, as Omphale eventually becomes Hercules’ lover and bride.

Saint-Saëns’ fifth and final piano concerto was composed for the 50th anniversary of his debut (1846 at Salle Pleyel, Paris) as a child prodigy pianist. The nickname “Egyptian” was not of his choosing although he composed it while on vacation in Cairo and Luxor. The first movement is sunny and ebullient, with intricate and often scintillating piano passage work woven within a wealth of melody. The atmosphere is decidedly Mediterranean, but the central movement traverses further distant climes.

Its rhythmic opening was considered Spanish in character, with a strong Moorish accent. Two passages of parallel sixths played two octaves apart which have reminded some of the Javanese gamelan. Then comes the inviting tune in G major which Saint-Saëns heard sung by Nile boatmen. Its origin was Nubian, but what about the Oriental episode with a pentatonic tune answered by a gong, or the passage where the piano imitates a dulcimer? Much had been written about chirping crickets and croaking frogs, but this was more like the well-travelled Saint-Saëns incorporating disparate foreign influences in his version of “world music”.

The busy finale was said to be inspired by the turning propellers and engine turbines of a passenger liner as it leaves port. It is a coruscating and virtuosic affair, again distinguished with overflowing melody. Saint-Saëns later recycled as his Toccata for piano (Op.111 No.6), which remains one of his most popular solo works.

The concert closes with Danse Macabre of 1874, the most popular of Saint-Saëns’ four symphonic poems. This imaginative setting of the “dance of death” takes place in a graveyard at the stroke of midnight every Halloween. After the clock (played by harp) strikes twelve, the solo violin representing the devil plays a series of screeching tritones (that strident diabolus in musica) before an intoxicatingly manic waltz gets underway. The xylophone rattles away as dry bones of skeletons arise from their crypts, while a fugue and quotes of Dies Irae (the medieval chant of the Day of Judgement) thicken the plot. As the dance runs its full course, the cockerel (played by oboe) signals the rise of dawn, after which the devil and his minions evaporate into the morning mist.

Programme notes by Chang Tou Liang

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Monday, 18th October 2021 Hong Kong 20:00 / Vienna 14:00

Jinsang Lee (piano)

Live Concert in Vienna - Streaming in real time from Vienna to Hong Kong Live in Vienna

14:00

Streaming to Hong Kong

20:00

Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienna The Hong Kong City Hall Concert Hall

Live Audience both in Hong Kong and in Vienna

40

PROGRAMME First Part

Edvard Grieg (1843 – 1907) • Lyric Pieces for piano (excerpts) Arietta, Op.12/No.1 Butterfly, Op.43/No.1 Little bird, Op.43/No.4 To spring, Op.43/No.6 Halling, Op.47/No.4 March of the Dwarfs, Op.54/No.3 Notturno, Op.54/No.4 From early years, Op.65/No.1 Wedding Day at Troldhaugen, Op.65/No.6 At Your Feet, Op.68/No.3 Puck, Op.71/No.3 Halling, Op.71/No.5 Remembrances, Op.71/No.7

• From Holberg’s Time for Piano, “Holberg Suite”, Op.40 Prelude. Allegro vivace Sarabande. Andante Gavotte. Allegretto - Poco più mosso - Allegretto Air. Andante religioso Rigaudon. Allegro con brio

INTERMISSION Second Part

Franz Schubert (1797 – 1828) • Sonata in A major, D. 959

I – II – III – IV –

Allegro Andantino Scherzo. Allegro vivace – Trio. Un poco più lento Rondo. Allegretto - Presto

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PROGRAMME NOTES GRIEG Lyric Pieces GRIEG Holberg Suite SCHUBERT Piano Sonata No.20 in A major, D.959 Edvard Grieg is Norway’s greatest and best-loved composer, a national icon who put Norwegian music and its folk influences firmly on the global map. Although a composer of orchestral scores like incidental music to Henrik Ibsen’s Peer Gynt and the popular Piano Concerto, he is also remembered as a miniaturist par excellence. Central to his solo piano output are ten books of Lyric Pieces, 66 in total, composed between 1866 and 1901. Reminiscent of Mendelssohn’s Songs Without Words, each book contains between six and eight short character pieces lasting only a few minutes in length.

Many of these are dances, but each is imbued with harmonic richness and wealth of nuances.

Jinsang Lee’s selection of thirteen pieces from seven books runs the full gamut of emotions and moods.

Arietta, the first piece of the first book, is beguilingly simple and tinged with melancholy. Grieg’s love of nature is reflected in the freely flitting Butterfly, twittering Little Bird and heartwarming ode that is To Spring. There are two pieces titled Halling, acrobatic dances performed at weddings and parties, accompanied by the drone of folk instruments. Equally rhythmic are March of the Dwarfs (or Trolls) and Puck, both sharing a sense of mischief and menace.

Arguably the best-known pieces are the ruminative Nocturne and festive Wedding Day at Troldhaugen, a foot-stamping dance with a beseeching love song at its heart. That was written for his beloved wife Nina on their 25th wedding anniversary. From Early Years and At Your Feet are less familiar, both possessed with nostalgia that radiate an inner glow.

Remembrances, the final piece of the final book, is a fond backward glance at the opening Arietta, now dressed up as a wistful slow waltz.

Grieg’s Holberg Suite is well loved as a work for string orchestra, but it began life as Fra Holbergs Tid (From Holberg’s Time) for piano solo. Composed in 1884 to celebrate the 200th anniversary of Danish-Norwegian playwright Ludvig Holberg’s birth, it is neoclassical in spirit, comprising five movements reliving dances from the Baroque period. The Prelude, a virtuosic romp that sweeps the entire keyboard, feels more Romantic than baroque, followed by a more traditional slow Sarabande. Listen for the drone in the Gavotte that mimicks the sound of bagpipes, and bask in the Air’s melancholic melody amid background polyphony. The suite closes with the jocular Rigaudon, a reminiscence of country fiddling.

Franz Schubert’s penultimate piano sonata in A major (D.959), part of his great final trilogy, was composed within months of his untimely death and only published ten years later. Cast in four movements, its “heavenly” length was only surpassed by his final B flat major sonata (D.960) and Beethoven’s Hammerklavier Sonata.

A series of resolute chords open the first movement, giving it a dramatic and urgent quality, contrasted by a lyrical second theme. Alternating shifts of mood and mildly jarring dissonances underscore the tension and conflict brewing beneath the surface, before the chords return, now transformed. Sounding subdued and resigned, these close the movement quietly.

The plaintive second movement is in triple (3/8) time with a rocking rhythm resembling a barcarolle or Venetian boat song.

This soon gives way to a brooding, sinister and violent central section filled with trills, clashing chords and stormy octaves.

Here is Schubert at his most uninhibited and turbulent, almost an aberration of his usual self, before opening serenity and calm is restored.

The Scherzo is a sprightly dance, with jumping chords descending from higher registers, contrasted by a reflective Trio which is chordal in nature. The Rondo finale uses a theme from an earlier sonata (D.537) composed some eleven years before, but now sounding more lilting and lyrical in its new guise. A series of variations develops but the song-like theme returns, each appearance more magical than the last. A short burst of energy closes the work, reprising the same A major chords that opened it. Seldom has pure joy and unbuttoned pleasure been expressed as eloquently as this.

Programme notes by Chang Tou Liang

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43

Tuesday, 19th October 2021 Hong Kong 20:00 / Vienna 14:00

Emanuil Ivanov (piano)

Live Concert in Vienna - Streaming in real time from Vienna to Hong Kong Live in Vienna

14:00

Streaming to Hong Kong

20:00

Fanny Hensel Hall, mdw – University of Music and Performing Arts Vienna The Hong Kong City Hall Concert Hall

Live Audience both in Hong Kong and in Vienna

44

PROGRAMME First Part

Jean - Philippe Rameau (1683 – 1764) • From Suite in Sol (Nouvelles suites de pièces de Clavecin) - L’ enharmonique - L’ Égyptienne - Les Sauvages

Johannes Brahms (1833 – 1897) / George Frideric Hӓndel (1685 - 1759) • Variations, Op. 24 1 - Theme. Aria

2 - Variation 1

3 - Variation 2

4 - Variation 3

5 - Variation 4

6 - Variation 5

7 - Variation 6

8 - Variation 7

9 - Variation 8

10 - Variation 9

11 - Variation 10

12 - Variation 11

13 - Variation 12

14 - Variation 13

15 - Variation 14

16 - Variation 15

17 - Variation 16

18 - Variation 17

19 - Variation 18

20 - Variation 19

21 - Variation 20

22 - Variation 21

23 - Variation 22

24 - Variation 23

25 - Variation 24

26 - Variation 25

26 - Fugue

INTERMISSION Second Part

Marc-André Hamelin (1961) • Étude No. 11 in C sharp minor - Minuetto • Étude No. 12 in A flat minor - Prelude and fugue

Franz Liszt (1811 – 1886) • Trois études de concert, S.144 No.1, in A flat major - Il lamento (The lament) No.2, in F minor - La leggierezza (Lightness) No.3, in D flat major - Un sospiro (A sigh)

• Réminiscences de Norma, S.394 Sinfonía – Introduzione – Dell’aura tua profetica – Deh non volverli vittime – Qual cor tradisti - Commosso è già – Guerra Guerra – Mashup between Dell’aura tua profetica and Commosso è già

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PROGRAMME NOTES RAMEAU Suite in G minor (Nouvelles suites de pieces de clavecin) BRAHMS Variations and Fugue on a Theme by Handel, Op.24 HAMELIN Études Nos.11 & 12 LISZT Trois Études de Concert, S.144 LISZT Reminiscences de Norma, S.394 Jean-Philippe Rameau was a great master of the French baroque keyboard who wrote numerous works for the harpsichord, also known as the clavecin. His three books of clavecin pieces, from 1706 to 1727, comprised suites united by a commonality of key. From the Suite in G (major and minor keys, 1726-27) come L’Enharmonique, L’Egyptienne and Les Sauvages, which are its final three pieces. These form a neat and varied three-movement set which traverse from grace and gentility to the so-called exotic dances of Egyptians and supposed savages.

All of Johannes Brahms’ sets of piano variations were relatively early works. Arguably the most popular is his Op.24 set from 1861, based on an Air (itself the subject of variations) from George Frideric Handel’s Harpsichord Suite No.1 published in 1733. It was dedicated as a 42nd birthday present to his close platonic friend Clara Schumann, who also gave the first performance.

The theme itself is simple and typically baroque, dressed up with short trills. The 25 variations that follow keep mostly within the same key, with occasional excursions into the minor mode, as in Variation No.5 and 6 (B flat minor), No.13 (B flat minor) and No.21 (G minor). Scholars have also noted that several numbers are actually variations on the preceding variation.

Brahms’ sheer inventiveness and ingenuity prevent the set from sounding routine or lapsing into tired clichés. There are also some pleasant surprises, including a variation in sicilienne rhythm (a popular lilting baroque dance, No.19) and another in the style of a music box (No.22). There is an exciting build-up in Variations No.23 through 25, acting as launching pad into the valedictory fugue, an imperious show of contrapuntal prowess. No less than Richard Wagner paid the compliment that, “one sees what may be done with old forms when someone comes along who knows how to use them”.

Canadian pianist Marc-André Hamelin’s 12 Études in minor keys are the 20th and 21st century solution to Alkan’s terrifying Études Op.39 and Liszt’s 12 Transcendental Études. These were written between 1986 and 2009, combining original music with super-virtuoso re-transcriptions of extant virtuoso transcriptions. Only a pianist of supreme technique and confidence would even begin to attempt these finger-twisters. The final two Études, both original works, were his most recent and earliest to be conceived. A cadence links the two which may be performed in succession. The modestly titled Minuetto, which begins simply enough but gets increasingly harrowing, is followed by Prelude and Fugue, a contrapuntal conundrum which would have impressed the likes of Bach, Busoni, Taneyev and Shostakovich.

In Franz Liszt’s Three Concert Études S.144, the customary didactic and technical aspects of finger exercises are shunned for poetry and lyricism. The original published title of Trois Caprices Poétiques (Three Poetic Caprices) provide a clue, as do their individual titles in Italian. The first étude, Il Lamento (The Lament), occupies the same sound world as Liszt’s Petrarch Sonnets and Liebesträume, song-like and melancholic but ornamented with short cadenzas. The second, La Leggierezza (Lightness) is more étude-like in character, requiring smooth and even runs of semiquavers for the right hand, later culminating in a spectacular passage in thirds. Both études are prefaced with the term a capriccio (on a whim), thus inviting the performer to express more freely. The final étude Un Sospiro (A sigh), the most famous of the three, has a soaring melody that is achieved by the crossing of hands. In a score with three staves, Liszt accomplishes the illusion that the piece is played by three hands!

Liszt did more than any composer in the 19th century to popularise the music of his contemporaries. His innumerable transcriptions, paraphrases and fantasies on the piano relived songs, symphonic works and opera of composers like Mozart, Beethoven, Schubert, Schumann, Wagner, Verdi and others long forgotten. Doing so in his own inimitable (and often fiendishly difficult) way ensured that only the most prodigious hands and minds, if any, could overcome these.

His Réminiscences de Norma (also known as the Norma Fantasy, 1843) rehashes seven melodies from Italian bel canto composer Vincenzo Bellini’s opera Norma. The divine aria Casta Diva and duet Mira O Norma, which do not fit into its dramatic narrative, are excluded. One need not know the opera well to appreciate Liszt’s distillation of its highlights, which are not heard in sequence anyway. Whether in the rousing choruses Dell’aura tua profetica and Guerra guerra, the aria Commosso e già or a combination of these wrapped in intricate counterpoint, it suffices just to marvel in his symphonic approach to piano writing and all the ravishing details.

Programme notes by Chang Tou Liang

46

Lecture/Demonstrations & Masterclasses by Alvaro Pierri HISTOIRE DU TANGO (THE STORY OF TANGO) A lecture series and Masterclasses by Uruguay-born guitarist Alvaro Pierri To take place by ZOOM between the Hong Kong City Hall Recital Hall and mdw – University of Music and Performing Arts Vienna.

Open to the public and free of charge for all those interested to attend.

However, given that we will only be able to accept 60 persons in the Hong Kong City Hall Recital hall at any given time, we request that all those interested to attend register their names by either: - calling the office of our Society: 2868 3325 or Anabella: 9027 1429 (also WhatsApp) or- sending us an e-mail to: afreris@netvigator.com, indicating your name, contact number and e-mail address and also which day and time you would like to attend and number of people (if any) coming along with you.

NOTE: Lecture/Demonstrations and Masterclasses will be conducted in English This year marks the centenary of the great Argentine tango composer Astor Piazzolla (1921-1992).

As a tribute to the tango-master’s legacy, Alvaro Pierri devotes three lectures on the history of the tango, from its humble and disreputable origins to its present hallowed status as the most sensual of all dance genres. His lectures will be followed by masterclasses with talented students of the guitar

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Monday 11th October 15:00 – 19:00 (Hong Kong time) 9:00 – 13:00 (Vienna time)

| |

The Hong Kong City Hall Recital Hall, High Block, 8th Floor mdw – University of Music and Performing Arts Vienna

First Part LECTURE / DEMONSTRATION (Day 1) (Hong Kong time) 15:00 - 15:45

(Vienna time) 9:00 - 9:45

How did the tango begin? Its origins and historical roots can be traced to Uruguay and Argentina from the early 20th century (c.1900-1935).

The main “hero” was Carlos Gardel (1890-1935), composer of Por una cabeza.

How the guitar and other instruments like the bandoneón got involved.

The tango and the milonga: how these forms were consolidated.

The globalisation of the tango through radio and Hollywood.

Second Part MASTERCLASSES NOTE: The music to be played by the students when working with Maestro Pierri during the masterclasses will not be necessarily related to the tango form, it will be any music from the guitar repertoire.

(Hong Kong time) (Vienna time) 1) 16:00 – 16:40 Jisu Lee (guit.) & Riko Sakamoto (flute) 10:00 – 10:40 Astor Piazzolla: Histoire du Tango, Bordel 1900 2) 16:45 – 17:25

Tim Jurkovic 1. Isaac Albeniz: Sevilla 2. Astor Piazzolla: Tristón

10:45 – 11:25

3) 17:30 – 18:10

Fu Hoi Man, Kevi 1. Verano Porteño by Astor Piazzolla 2. Tango en skaï by Roland Dyens

11:30 – 12:10

4) 18:15 – 18:55

Leung Tsz Kin 1. Sonata Op.15, 1st mov.

by Mauro Giuliani

12:15 – 12:55

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Lecture/Demonstrations & Masterclasses by Alvaro Pierri Tuesday 12th October 15:00 – 19:00 (Hong Kong time) 9:00 – 13:00 (Vienna time)

| |

The Hong Kong City Hall Recital Hall, High Block, 8th Floor mdw – University of Music and Performing Arts Vienna

First Part LECTURE / DEMONSTRATION (Day 2) (Hong Kong time) (Vienna time) 15:00 - 15:45 9:00 - 9:45 Evolution of the tango (c.1935-1968) and its multiplicity of styles.

The advent of duos, small performing groups and orchestras.

Rise of new “heroes” like Mattos Rodriguez, Osvaldo Pugliese, Juan D’Arienzo, Anibal Troilo, Horacio Salgán and others. Singers like Tita Merello, Eduardo Fiorentino, Edmundo Rivero, Roberto Goyeneche, Julio Sosa and many more get involved.

The vital role played by radio, television and the recording industry through 78, 45 and 33 rpm discs.

Second Part MASTERCLASSES NOTE: The music to be played by the students when working with Maestro Pierri during the masterclasses will not be necessarily related to the tango form, it will be any music from the guitar repertoire.

(Hong Kong time) 1) 16:00 – 16:40

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Jisu Lee (guit.) & Riko Sakamoto (flute) 1. Astor Piazzolla: Histoire du Tango, Café 1930

(Vienna time) 10:00 – 10:40

2) 16:45 – 17:25

Ayako Kaisho 1. Mario Castelnuovo-Tedesco: Sonata „Hommage à Luigi Boccherini“, 1st mvt.

10:45 – 11:25

3) 17:30 – 18:10

Lee Hoi In, Lesley 1 - Valseana from Aquarelle

by Sergio Assad

11:30 – 12:10

4) 18:15 – 18:55

Joyce Hon 1 - Tango, Op.165, No.2 by Issac Albéniz (Transcription: Andrés Segovia)

12:15 – 12:55

Wednesday 13th October 15:00 – 19:00 (Hong Kong time) 9:00 – 13:00 (Vienna time)

| |

The Hong Kong City Hall Recital Hall, High Block, 8th Floor mdw – University of Music and Performing Arts Vienna

First Part LECTURE / DEMONSTRATION (Day 3) (Hong Kong time) (Vienna time) 15:00 - 15:45 9:00 - 9:45 The story of Astor Piazzolla, from his birth, studies in Paris with Nadia Boulanger, to the birth of tango nuevo. His first great successes with Adios Nonino and Balada para un loco. The evolution of tango nuevo, its main influences, aesthetics, ensembles and associated acts. The enduring heritage of tango.

Second Part MASTERCLASSES NOTE: The music to be played by the students when working with Maestro Pierri during the masterclasses will not be necessarily related to the tango form, it will be any music from the guitar repertoire.

(Hong Kong time) (Vienna time) 1) 16:00 – 16:40 Jisu Lee (guit.) & Riko Sakamoto (flute) 10:00 – 10:40 1. Astor Piazzolla: Histoire du Tango, Nightclub 1960 2) 16:45 – 17:25

Anna Leszjak Mauro Giuliani: Rossiniana op. 11

10:45 – 11:25

3) 17:30 – 18:10

Cheung Chun Ming, Michael 1 - Tombeau sur la Mort de Mur. Comte d’Logy by Silvio Leopold Weiss

11:30 – 12:10

4) 18:15 – 18:55

Joseph Lau 1. Prelude from Cello Suite No.1 BWV 1007 by J. S. Bach 2. Choral from St. Mathew Passion No.54 BWV 244 by J.S. Bach

12:15 – 12:55

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Lecture/Demonstrations & Masterclasses by Alvaro Pierri Thursday 14th October 15:00 – 19:00 (Hong Kong time) | The Hong Kong City Hall Recital Hall, High Block, 8th Floor 9:00 – 13:00 (Vienna time) | mdw – University of Music and Performing Arts Vienna MASTERCLASSES NOTE: The music to be played by the students when working with Maestro Pierri during the masterclasses will not be necessarily related to the tango form, it will be any music from the guitar repertoire.

(Hong Kong time) 1) 15:00 – 15:40

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Jisu Lee (guit.) & Riko Sakamoto (flute) Astor Piazzolla: Histoire du Tango, Concert d’aujourd’hui

(Vienna time) 9:00 – 9:40

2) 15:45 – 16:25

Tizoc Romero Chavero Carlos Rafael Rivera: Whirler of the Dance, 2nd + 3rd mvt.

9:45

– 10:25

3) 16:30 – 17:10

Lui Fung Yat, Aaron (Guitar), Leung Shing Hei, Kelvin (Harmonica)

10:30 – 11:10

4) 17:15 – 17:55

History of Tango by Astor Piazzolla 1. Café 1930 2. Bordello 1900 3. Modern-Day Concert

11:15 – 11:55

5) 18:00 – 18:40

Lau Ka Chun, Eric 1.Milonga Del Angel by Astor Piazzolla

12:00 – 12:40

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MASTERCLASSES – VIOLIN, VIOLA & CELLO To take place by ZOOM between the Hong Kong City Hall Recital Hall and mdw – University of Music and Performing Arts Vienna.

Open to the public and free of charge for all those interested to attend.

However, given that we will only be able to accept 60 persons in the Hong Kong City Hall Recital hall at any given time, we request that all those interested to attend register their names by either: - calling the office of our Society: 2868 3325 or Anabella: 9027 1429 (also WhatsApp) or - sending us an e-mail to: afreris@netvigator.com, indicating your name, contact number and e-mail address and also which day and time you would like to attend and number of people (if any) coming along with you.

NOTE: Lectures and Masterclasses will be conducted in English

Friday 15th October 2021 15:00 – 19:00 (Hong Kong time) 9:00 – 13:00 (Vienna time)

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The Hong Kong City Hall Recital Hall, High Block, 8th Floor mdw – University of Music and Performing Arts Vienna

First Part MASTERCLASSES BY PIERRE DOUMENGE (cello) 15:00 - 17:00 (Hong Kong time) 15:00 – 15:20 15:25 – 16:10 16:15 – 17:00

9:00 – 11:00 (Vienna time) (lecture) (student from Vienna) Weyman Ng 1. Prelude from solo cello suite no. 3 in C major by J. S. Bach

9:00 – 9:20 9:25 – 10:10 10:15 – 11:00

Second Part MASTERCLASSES BY MICHAEL BROOKS REID (violin) 17:00 – 19:00 (Hong Kong time) 17:00 – 17:20 17:25 – 18:10 18:15 – 19:00

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11:00 – 13:00 (Vienna time) (lecture) (student from Vienna) Chan Kam Sum, Kent 1. Fugue from Solo Sonata No.1 in G, BWV1001 by J.S. Bach

11:00 – 11:20 11:25 – 12:10 12:15 – 13:00

Saturday 16th October 2021 15:00 – 19:00 (Hong Kong time) | The Hong Kong City Hall Recital Hall, High Block, 8th Floor 9:00 – 13:00 (Vienna time)

| mdw – University of Music and Performing Arts Vienna

First Part MASTERCLASSES BY MICHAEL BROOKS REID (violin) 15:00 – 17:00 (Hong Kong time) 15:00 – 15:20 15:25 – 16:10 16:15 – 17:00

9:00 – 11:00 (Vienna time) (lecture) (student from Vienna) Yip Sze Chun, Vincent Violin Concerto in D, 1st mov. by Tchaikovsky *He will bring his accompanist

9:00 – 9:20 9:25 – 10:10 10:15 – 11:00

Second Part MASTERCLASSES BY JOEL HUNTER (viola) 17:00 – 19:00 (Hong Kong time) 17:00 – 17:20 17:25 – 18:10 18:15 – 19:00

11:00 – 13:00 (Vienna time) (lecture) (student from Vienna) Wong cheuk ying, Charmaine 1. Viola sonata op. 120 no. 2 in E Flat major, 2nd movt by Johannes Brahms

11:00 – 11:20 11:25 – 12:10 12:15 – 13:00

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WORKSHOPS – MUSIC & TECHNOLOGY

by Volker Werner To take place by ZOOM between the Hong Kong City Hall Recital Hall and mdw – University of Music and Performing Arts Vienna.

Open to the public and free of charge for all those interested to attend.

However, given that we will only be able to accept 60 persons in the Hong Kong City Hall Recital hall at any given time, we request that all those interested to attend register their names by either: - calling the office of our Society: 2868 3325 or Anabella: 9027 1429 (also WhatsApp) or - sending us an e-mail to: afreris@netvigator.com, indicating your name, contact number and e-mail address and also which day and time you would like to attend and number of people (if any) coming along with you.

NOTE: Lectures will be conducted in English

Sunday 17th October 2021 15:30 – 17:00 (Hong Kong time) 9:30 – 11:00 (Vienna time)

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The Hong Kong City Hall Recital Hall, High Block, 8th Floor mdw – University of Music and Performing Arts Vienna

Introduction in Live Video Streaming for Musicians This workshop gives you a short introduction into the basics of a contemporary multi-camera production for live-streaming:

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Audio- and video recording technics Setup of microphones, cameras & lighting equipment Recording formats Setup of an RTMP stream

Monday 18th October 2021 15:30 – 17:00 (Hong Kong time) 9:30 – 11:00 (Vienna time)

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The Hong Kong City Hall Recital Hall, High Block, 8th Floor mdw – University of Music and Performing Arts Vienna

Live video productions going a step beyond This workshop gives you three examples of state of the art live video productions, that create new possibilities for the world of art and culture.

It starts with a classical concert production for an EBU live broadcast at the famous Melk Abbey.

The second example shows a concert where artificial intelligence combined with human input created a new symphony of the elements contracted by Huawei at Musikverein Vienna.

The third project was a live concert where musicians in different European countries played together simultaneously and presented an advanced audio-visual performance contracted by the paneuropeans data network for research and education „Géant“.

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Volker Werner (sound, video & streaming engineer) Volker Werner studied sound engineering (Tonmeister) at University of Music and Performing Arts Vienna, at University of Miami, Florida and Banff Centre in Canada. In 2007 with his colleagues Philipp Treiber and David Menke, he founded his company, PDV Records, specializing in sound systems for large-scale concert events, audio and video production as well as film music. As a sound designer he worked on projects like the opening of the Vienna Festival, Disney in Concert or Opera in the Quarry. He produced musical TV events such as the national Whitsunday concert from Stift Melk or the Easter Concert from St Stephen’s Cathdral in Vienna and has worked in the music team for cinema productions such as Mission Impossible.

Vo lke r We r n e r wo r ke d w i t h r e now n e d c l a s s i c a l m u s i c artists such as Nikolaus Harnoncourt, Diana Damrau, Edita Gruberová and Michael Schade as well as world famous orchestras: the Berlin Philharmonic, the Vienna Symphonic or the Mahler Chamber Orchestra. Volker Werner is teaching at mdw - University of Music and Performing Arts Vienna and has been involved in the development of 3D audio formats in collaboration with Fraunhofer Institute. He was part of the development team for the Amadeus Active Acoustics System, debuting with the London Symphony Orchestra and inaugurating the Andermatt Concert Hall with the Berlin Philharmonic. He is responsible for the 3D sound system at the new James Bond Museum “007 Elements” on top of the Gaislachkogl.

https://www.youtube.com/watch?v=KdsMCuudVJU

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The Participating Artists - The LOGOS Chamber Group

Michael Brooks Reid (violin) Catherina Lee (violin) Joel Hunter (viola) Pierre Doumenge (cello)

- Rick Stotijn (double bass) - Bram van Sambeek(bassoon) - Alvaro Pierri (guitar) - Gilberto Pereyra (bandoneon)

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- The First Prize winners of the Hong Kong International Piano Competitions

2008 - Jinsang Lee (piano)

2011 - Giuseppe Andaloro (piano)

2016 - Luka Okros (piano)

2019 - Honggi Kim (piano)

- Anastasia Kobekina (cello)

- Simply Quartet

Danfeng Shen (Violin) Antonia Rankersberger (Violin) Xiang Lyu (Viola) Ivan Valentin Hollup Roald (Cello)

- The Hong Kong Philharmonic Orchestra - The Conductor: Maestro Yves Abel - The Soloists

Colleen Lee (piano) Rachel Cheung (piano) Wang Liang (violin) Richard Bamping (cello)

- Emanuil Ivanov (piano)

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The LOGOS Chamber Group

Michael Brooks Reid

(violin)

Australian violinist Michael Brooks Reid is regularly sought after as concertmaster and principal by leading orchestras across Europe and Australia.

Currently based in Berlin, Michael makes regular guest appearances with the Mahler Chamber Orchestra, German Radio Philharmonic, K a m m e r a k a d e m i e Po t s d a m , Wü r t e m b e r g Chamber Orchestra, Aurora Orchestra, Sinfonia of London, Adelaide Symphony Orchestra and the Australian World Orchestra. Michael is also a member of the Swiss chamber orchestra Camerata Bern. Other appearances include p e r fo r m a n c e s w i t h O r c h e s t r a M oz a r t a n d the Lucerne Festival Orchestra, working with esteemed conductors such as the late greats Pierre Boulez and Claudio Abbado.

Mic hae l s p e nt s eve r a l ye a r s a s a me mb e r of the Hamer Quartet, during which time the ensemble won a clean sweep of first prizes at the inaugural Asia-Pacific International Chamber Music Competition. Since leaving the quartet, Michael has continued to pursue his passion for chamber music in Europe, per forming in several international music festivals including the Avigdor Classics in Switzerland. Since 2017, Michael has been a member of the Logos Chamber Group at the Joy of Music Festival in Hong Kong.

As soloist, Michael has toured with the Melbourne Chamber Orchestra, L’Arpa Festante and Australia Pro Arte as well as recent guest performances with the Melbourne Youth Orchestra.

During his time at university, Michael studied conducting with Christopher Seaman, Sebastian Lang-Lessing and the late John Hopkins OBE, and conducted the Adelaide and Tasmanian Symphony Orchestras.

From 2004-08 Michael was Leader and Artistic Director of the Australian Classical Players, where he combined his passions for conducting and violin playing; programming and directing the concert season from the 1st violins.

Michael plays a violin by Nicolo Gagliano, made in Naples in 1751.

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Catherina Lee (violin) ‘‘Catherina Lee is one of the most gifted and promising violinists to have emerged from Queensland, Australia’ in recent decades. She has her own rare musicianship that has a poignancy and sensitivity that is unique and very much her own.’’ (Brendan Joyce – Leader and Artistic Director of The Queensland Chamber Orchestra) In 2021, Catherina looks forward to continue her music making both as a soloist and chamber musician. This includes her solo debut in Konzerthaus Vienna, playing with the Wiener Akademische Philharmoniker.

At the age of 15, Catherina was accepted into the University of Music and Performing Arts into the class of Professor Gerhard Schulz, a former member of the world-famous Alban Berg Quartet. Catherina has graduated the ‘solo profile’ for her masters with distinction and has since been working intensively with Janine Jansen and Pavel Vernikov at the Conservatoire De Lausanne Haute-Ecole De Musique Site De Sion.

Catherina began playing the violin at the age of 6, and gave her first public recital at the age of 9. She made her debut with the Queensland Symphony at the age of 13 playing Tchaikovsky’s violin concerto, and has since then gone on to play in collaboration with orchestras including Orchestra di Padova e del Veneto, Camerata of St John’s, the Vienna Ensemble, and Camerata Orphica Festival Orchestra. Catherina has also had the pleasure of playing as a soloist in cross genre productions in collaboration with Ot to Brusat ti, playing in venues across South Korea with the Meta Dance Company.

She has had the pleasure of receiving va luable musica l input fr om Ser guei A zizia n, Kur t S a s s ma nns hau s , Reka Szilvay, Ivry Gitlis, Takako Nishizaki, Ivan Straus, Johannes Meissl, Nikolaj SzepsZnaider, Michael Frischenschlager, Jean Jacques Kantorow, Ilya Gringolts and Erich Gruenberg.

Catherina currently plays on a GB G u a d a g n i n i , m a d e i n Tu r i n c1771 generously loaned by a private sponser.

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The LOGOS Chamber Group

Joel Hunter (viola) Born in the UK and a proud Yorkshireman, Joel was drawn to the viola as a 7 year old and decided many years later to continue his studies at Chethams School of Music in Manchester and subsequently at the Royal Academy of Music in London. Since then Joel has been performing all over the world with many leading orchestras and ensembles.

Immediately after finishing his studies in London he was appointed co-principal viola with the BBC Scottish Symphony Orchestra in Glasgow, moving on to the Swedish Radio Symphony Orchestra in Stockholm a few years later where as principal viola he worked until 2014. He is currently the principal violist of the Mahler Chamber Orchestra which he combines with a busy freelance career.

He has appeared as a guest principal violist in most UK orchestr as, including the Philharmonia, Royal Philharmonic, London Philharmonic, City of Birmingham Symphony, The BBC Philharmonic and Concert Orchestras, Royal Scottish National Orchestra, Scottish Chamber Orchestra, BBC National Orchestra of Wales, London Chamber Orchestra, Aurora, Royal Northern S i n fo n i a a n d i n te r n a t i o n a l l y w i t h t h e Symphonie Orchester des Bayerischen R u n d f u n k , B a m b e r g S y m p h o ny, O s lo Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, Lucerne Festival Orchestra and the Amsterdam Sinfonietta.

He has appeared as a soloist with the London Chamber Orchestra and the Mahler Chamber orchestra in concer ts at St John Smiths Square and Aldeburgh and has collaborated with many eminent artists, including Christian Tetzlaff, Alisa Weilerstein, Pascal Roge, Mitzuko Uchida and Leif Ove Andsnes in chamber music concerts throughout the world.

Recent recordings include the Korngold String Sextet for Chandos and the Mozart Piano Quartets with Leif Ove Andsnes for Sony Classical. He is also a founding member of the Logos Chamber Group playing annually at the Joy Of Music Festival and International Piano Competition in Hong Kong.

In 2001 he was made an ‘Associate member’ of the Royal Academy of Music in London (ARAM) for his services to the profession.

Joel is now based in Berlin where he lives with his family.

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Pierre Doumenge (cello) Pierre Doumenge was a member of the Dante Quartet and regularly explores the repertoire with artists such as Pascal Rogé, Lars Vogt, Daniel Hope, Pekka Kuusisto, the Belcea, Allegri, Sacconi, Piatti, London Haydn quartets, Nash Ensemble and Aronowitz Ensemble. He has appeared at many international festivals (Aldeburgh, Kuhmo, Bucharest, Osor, Nuremberg, Bergstaden, Hindsgalv, IMS Prussia Cove, Stellenbosch, S i n g a p o r e , H o n g - K o n g , V a n c o u v e r, Boston) and recorded for the Chandos, Dutton, Meridian and Hyperion labels to great critical acclaim. He was chosen to be the official cellist of the 2008 Menuhin International Violin Competition, performing the Ravel Duo Sonata with the nine semifinalists.

Pierre is principal cellist of the Bergen Philharmonic in Norway and works regularly as principal cello with the Netherlands Philhar monic, A mster dam Sinfoniet ta , Ensemble Orchestra Kanazawa, Mahler C h a m b e r O r c h e s t r a , O r c h e s t r a of t h e Age of Enlightenment, Scottish Chamber Orchestra, London Chamber Orchestra, London Sinfonietta, Academy of St Martin in the Fields, Bournemouth Symphony, BBC Welsh and the English National Opera.

Pierre taught at the Yehudi Menuhin School from 2003-2009 and at the London Guildhall School of Music from 2005-2018. He’s now a professor at the Grieg Academy of Music in Bergen, Norway. He gives annual masterclasses at the International Cello Courses UK, Oxford Cello School, Violoncello Society of London, Ecole Normale de Musique de Paris, West Helsinki Music Institute, Conservatoire Royal de Mons and the Szymon Goldberg Seminars in Toyama, Japan.

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Rick Stotijn Rick Stotijn (double bass) There is a good argument for regarding the double bass as the foundation to many musical performances. At least to Rick Stotijn, who makes this point convincingly through his versatility. Be it as a soloist, a chamber musician, principal double bass player in various orchestras or as a member of innovative ensembles.

Soloist and chamber musician Rick is a tireless promotor of his instrument and its sheer endless possibilities. He has collaborated with and performed world premieres of works by composers such as Louis Andriessen, Michel van der Aa, Jesper Nordin and Ned Rorem. Martijn Padding dedicated a new double bass concerto to Rick in 2016; Reports from the Low Country was first performed at the Concertgebouw Amsterdam, with the Radio Philharmonic Orchestra conducted by James Gaffigan. In 2018, Rick and violinist Malin Broman premiered Britta Byström’s double concerto Infinite Rooms, with David Afkam conducting the Swedish Radio Symphony Orchestra.

Rick also championed the works of Giovanni Bottesini, the colourful 19th century composer/double bass player/conductor. Classics Today wondered if this could be ‘the best Bottesini CD ever’, and the press wrote: ‘His bass can match Liza Ferschtman’s agile violin playing not only in the many hair-raising rapid figurations, but also in the work’s lovely cantabile melodies.’

Turning a different corner – and to the surprise of many – Rick made his instrument dance in works by Piazzolla, Rota and De Falla. ‘Capturing the moods from the romantic to the menacing’, Gramophone wrote about the recording Basso Bailando with the Swedish Radio Symphony Orchestra.

Next Level Double Bass Classical music from any era is only a part of the music Rick embraces. He is co-founder of the Stockholm Syndrome Ensemble, building programmes around an event, idea or concept. This narrative allows the comparison and contrast of music across all periods and styles – from Purcell to Dylan, from Messiaen to Radiohead.

Together with Bram van Sambeek, he recently founded ORBI. Described as a ‘chamber music rock group’, it combines the improvisatory forces of bassoon, double bass, hammond organ and percussion. Their interpretation of rock and metal music breaks new ground for the individual instruments, as well as pushing the players to their limit.

Background Rick Stotijn studied double bass at the Conservatory in Amsterdam with his father Peter Stotijn, and graduated with the highest distinction. He continued studies with Bozo Paradzik at the Hochschule in Freiburg. He won several first prizes at competitions and was awarded the highest accolade to a musician in the Netherlands; the Dutch Music Prize. According to the jury: ‘Rick is a versatile musician with a moving musicality and an overwhelming virtuosity.’

Amongst the many solo appearances which followed worldwide, was a Carte Blanche series in the Recital Hall of the Concertgebouw Amsterdam.

Rick Stotijn performs regularly as a soloist with orchestras such as the Swedish Radio Symphony Orchestra, Amsterdam Sinfonietta, Arnhem Philharmonic Orchestra, the Residentie Orkest The Hague, South Netherlands Symphony Orchestra, Toulon Opera Symphony Orchestra, Musica Vitae Sweden and Joensuu Symphony Orchestra.

Rick was principal double bass in the Rundfunk Sinfonie Orchester Berlin and Amsterdam Sinfonietta and is currently principal in the Swedish Radio Symphony Orchestra and Mahler Chamber Orchestra. As guest principal, Rick plays regularly in the London Symphony Orchestra, Royal Concertgebouw Orchestra and Orchestra Mozart. He is also member of the Chamber Orchestra of Europe.

In chamber music, he has worked with Janine Jansen, Christianne Stotijn, Liza Ferschtman, Julius Drake, Cecilia Bernardini, Vilde Frang, Julian Rachlin, Lawrence Power, Tabea Zimmermann, Lars Vogt, Christian Tetzlaff and many others. Rick is a regular guest at festivals such as the Lucerne Festival, Delft Chamber Music Festival and the International Chamber Music Festival in Utrecht.

Rick Stotijn is Professor Double Bass at the Robert Schumann Hochschule Düsseldorf. He performs on a Raffaele & Antonio Gagliano double bass, generously loaned by the National Musical Instrument Foundation.

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www.rickstotijn.com

Bram van Sambeek Bram van Sambeek (bassoon) Bram van Sambeek (1980) was the first bassoonist ever to receive the highest Dutch Cultural Award in 30 years: The Dutch Music Prize, handed out to him personally by Minister of Culture Ronald Plasterk in 2009. On this occasion, Bram played the bassoon concerto by Gubaidulina with the Rotterdam Philharmonic and chief conductor Seguin. De Telegraaf newspaper wrote about this performance: “He uses his instrument freely as a mouthpiece, conjures the finest timbres, and is technically capable of doing anything.” In 2011 he won a Borletti Buitoni Trust Award, and he has been admitted to The Chamber Music Society Two programme of New York’s Lincoln Center. In 2018 Bram won the BBC Music Magazine Concerto Award for the premiere recordings of the bassoon concertos by Kalevi Aho and Sebastian Fagerlund.

Bram van Sambeek performs regularly as a soloist with orchestras such as the Lahti Symphony Orchestra, The Gothenborg Symphony, the Netherlands Chamber Orchestra, the Oulu Symphony, and the South Netherlands Philharmonic. Many composers, such as Vanessa Lann and Sebastian Fagerlund, have written concertos for him.

From 2002 until 2011 Bram was Principal Bassoonist of the Rotterdam Philharmonic Orchestra and since 2009 he has been teaching the bassoon at the Conservatories in Rotterdam, Amsterdam and The Hague. Last season he started a professorship exclusively at the Hochschule für Music und Tanz in Cologne. Bram has taught masterclasses at schools like Bloomington Indiana, the Royal College of London, and the Conservatory of Busan, Korea.

He played regularly as a Guest Principal with the London Symphony Orchestra and the Mahler Chamber Orchestra. As a chamber musician he has worked with Alexei Ogrintchouk, Jörg Widmann, Reto Bieri, Clara Andradas de la Calle, Hervé Joulain, Radovan Vlatkovich, Liza Ferschtman, Christoph Pregardien, Pekka Kuusisto, Nicolas Altstaedt and Rick Stotijn.

In 2010 Bram was offered a Carte Blanche series in the Concertgebouw Amsterdam and in 2015 he received a “Wild Card” consisting of many adventurous concerts at the Muziekgebouw aan ’t IJ, also in Amsterdam. He is a regular guest at festivals like the Delft Chamber Music Festival, Storioni Festival, Orlando Festival, West Cork Chamber Music Festival, Lockenhaus Chamber Music Festival and the Australian Festival of Chamber Music, and has investigated concert practice in cooperation with Radio Kootwijk Live, experimenting with innovations such as playing people to sleep.

Bram is very much interested in playing any style he likes, which leads him to work with rock musicians like Sven Figee in Konzerthaus Berlin, Jazz musicians like Joris Roelofs at the famous North Sea Jazz Festival, Arabic musicians like Kinan Azmeh in the Newlands Festival, and improvisers like Ernst Glerum in the “Apples and Olives” festival in Zürich.

Bram decided to start playing the bassoon when he was ten years old, beginning his studies with Fred Gaasterland and continuing later with Joep Terwey and Johan Steinmann at the Royal Conservatory of The Hague. After his graduation, he took private lessons with Gustavo Núñez. In addition, he has participated in masterclasses with Brian Pollard and two of the most important bassoon soloists in the world: Klaus Thunemann and Sergio Azzolini. Bram also plays on a very special bassoon, an instrument that has been played for many years by both these musicians.

About working together with Bram, Yannick Nézet-Séguin remarked in a television interview available at www. bramvansambeek.com: “I think he is able to fall in love with many aspects of the music, and doesn’t set himself too many boundaries.” In another interview about Bram, Valery Gergiev remarked: “…all in all a combination of being artistically involved, motivated and being gifted, being a very nice person, and also being a little bit unusual!”

On his debut cd with Brilliant Classics, called ‘Bassoon Concertos’, he presented a very accessible programme of bassoon concertos by Vivaldi, Du Puy, Villa Lobos, and Olthuis, receiving rave reviews like this remark in the Dutch music magazine Luister: “Judging by his playing, Mr van Sambeek awaits a golden future.” In march 2012, Brilliant Classics released his second cd “Bassoon-Kaleidoscope,” which includes different chamber music pieces, as well as a rock song.

In 2015-2016 Bram has performed the two new bassoon concertos by Sebastian Fagerlund and Kalevi Aho and recorded them for the BIS label with whom he has an on-going cooperation.

Last year he was the spokesman of the “Save the bassoon” campaign set up by the Holland Festival. This lead to a lot of international attention and publicity for the instrument in the London Times, the Guardian, Süddeutsche Zeitung and played on many television shows.

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Gilberto Pereyra

Gilberto Pereyra (bandoneon) Gilberto Pereyra started studying bandoneon when he was very young, thanks to his parents, who initiated him into the traditions of Argentina folk music.

In 1982, he formed the Sexteto Menor, and gave performances in the largest tango halls/rooms in Buenos Aires. During that period, he played with the most prestigious Argentinean musicians. In 1991, he then moved to Paris and became conductor and arranger for the « Trottoirs de Buenos Aires ». He is regularly hired as a soloist for concerts and recordings by many ensembles and orchestras, and performs all over the world. In France he has often been invited as a soloist with the musicians of the Orchestre de Paris. He also works with the soloists of the Royal Opera House : Milva, Paolo Fresu, Vasko Vassilev, Daniel Goyone, Tango Seis, Beata Szalwinska, Catherine Ringer, Michel Piquemal. He has also written film scores for movies by Claude Lelouch, Patrice Leconte, Albert Dupontel. https://gilbertopereyra.com

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Alvaro Pierri Alvaro Pierri (guitar) Alvaro Pierri is internationally acclaimed as a leading personality in the world of the guitar. Press reviews around the wor ld pr aise “his master ly thoughtout interpretations“... “the breathtaking phrasing“ ... “his phenomenal and brilliant technique” ... “the unmatched musical colour spectrum that he creates on the guitar“.

In 1983 he made his debut in Germany with the string soloists of the Berlin Philharmonic; subsequently Alvaro Pierri appeared worldwide on numerous radio and television programmes (as a soloist but also together with artists like Frank Peter Zimmermann, Astor Piazzolla, Charles Dutoit and big Orchestras) produced by stations like Deutsche Rundfunk, PBS New York, CBC Canada, Radio France, NHK Japan, KBS Korea, Austrian, Spanish, French, Danish, Chinese Radios.

Alvaro Pierri is regularly performing with outstanding musicians, ensembles and orchestras. He has shared the stage with such artists like Charles Dutoit and the Montreal Symphony Orchestra, Astor Piazzolla and the WDR Radio Orchestra Köln with Pinchas Steinberg, Yannick Nezet-Séguin, Polish Chamber Philharmonic Orchestra with Wojciech Rajski, CBC Radio Orchestra with Mario Bernardi, London Chamber Orchestra, Frank Peter Zimmermann, Ernö Sebestien, Regis Pasquier, Hatto Beyerle, Philippe Müller, Leo Brouwer, Amjad Ali Khan, Alcides Lanza, Tracy Silverman, Maureen Forrester, Eduardo Fernandez, Isaye Quartett, Cherubini Quartet, Turtle Island String Quartet, Ensemble Wien with Rainer Honeck, Vasko Vassilev, and Pascal Rogé.

Contemporary composers such as Leo Brouwer, Guido Santorsola, Jacques Hétu, Astor Piazzolla, Abel Carlevaro, Carlo Domeniconi, Dusan Bogdanovic a. o. have written major works for Alvaro Pierri.

Alvaro Pierri’s CDs have been released by Metropole-Polydor (France), Blue Angel-2001 (Germany), Milan Records (Canada), Analekta (Canada), Amplitude (Canada), Madacy (Canada), HOMA (Japan), Pioneer Classics (Japan) and Alpha Omega Sound (Hong Kong). Several of his CDs have been honoured with prices and nominations, he received already twice the coveted Canadian FELIX award for the best classical CD of the year. Recently “Pioneer Classics Japan“ brought out a DVD featuring Spanish and South American guitar music, and “Deutsche Grammophon“ re-issued a DVD, Alvaro Pierri performing in duo with Astor Piazzolla.

Alvaro Pierri is also an internationally acclaimed teacher. Many of his students have won major international guitar competitions, and have themselves outstanding performing and recording careers. He was professor in Brazil at the University of Santa Maria, later then in Canada at McGill University (Faculty of Music) and at the UQAM (Department of Music) in Montreal. In 2002 he was appointed professor at the famous Academy of music in Vienna (today University of Music and Performing Arts), Austria.

Pierri gives master classes at numerous major music festivals in the US, Canada, Europe and Asia, such as New York Manhattan Masters, GFA Guitar Foundation of America, Los Angeles, San Francisco, Chicago, Baltimore, Miami, Québec FIG, Orford Festival, Domaine Forget (Canada), SIG Séminaire International de Guitare in Paris and Bordeaux, Barcelona, Sevilla and Elche in Spain, Rome, Mozarteum Summer Academy in Salzburg, Wiener Meisterkurse, LiGiTa Liechtenstein Guitar Week, London, Amsterdam, Kopenhagen, Helsinki, Uppsala, Villa Musica Mainz, Berlin, Koblenz, Iserlohn, Sao Paulo, Rio de Janeiro, Montevideo, Mumbai, New Delhi, Tokyo, Sapporo, Osaka, Seoul, Hong Kong Joy of Music Festival, Beijing, Shanghai, a.o.

Alvaro Pierri was born in Montevideo in Uruguay, in a family of musicians. He received his early musical education from his mother, the pianist Ada Estades, and his aunt, the Uruguayan guitarist Olga Pierri. Later he studied with the legendary Maestro Abel Carlevaro, the composer Guido Santorsola and also at the Uruguayan National Institute of Musicology.

In recognition of his outstanding artistic talent and career and his permanent enriching contribution to music and culture, Alvaro Pierri was appointed as honorary citizen of his hometown Montevideo, in 2008.

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The First Prize winners of the Hong Kong International Piano Competitions

2008 - Jinsang Lee (piano) Jinsang gained the international recognition by winning the 1st prize at the Concours Géza Anda in Zurich in 2009, as well as winning all the special prizes for the first time in the history of the competition. Prior to that, Jinsang won the first prizes in Hong Kong International Piano Competition (2008, chaired

by Vladimir Ashkenazy) and the International Pianoforte Competition Cologne, Germany (2005) following numerous top prizes in Korea and Japan.

Prestigious orchestras chose Jinsang for concer ts including Bamberg Symphony Orchestra, Berner Symphonieorchester, Konzerthausorchester Berlin, Nürnberger Symphonieorchester, Tonhalle Orchestra Zurich and WDR Radio Orchestra Cologne. He also performed at music festivals such as Busoni Festival, Lucerne Festival, Montreux Festival and Ruhr Piano Festival.

Discography: Live recording of the Concours Géza Anda (2009), HillerMendelssohn-Chopin piano pieces, recorded with both antique and modern S t e i n w a y p i a n o s (2011), S c h u m a n n : Piano Sonatas for the Young, Op. 118 / 5 Gesänge der Frühe (2015), Georgy Sviridov recorded with the Beethoven Trio Bonn (2017) and 3 CDs of Beethoven’s piano trio works with Beethoven Trio Bonn (2020).

Jinsang started his musical education in Korea, continued his studies in Nürnberg and Cologne and finished in Salzburg. In search of the perfect sound, he educated himself the entire piano manufacturing process and the technique in Steinway Hamburg factory and Steinway Austria.

A passionate chamber musician, he is a member of Beethoven Trio Bonn and currently a faculty member at the Korea National University of Arts.

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2011 - Giuseppe Andaloro (piano) Giuseppe A ndaloro is considered one of the most appreciated artists of his generation.

Born in Palermo in 1982, he started a passionate and intense concert activity at a very young age, carrying out a wide repertoire which ranges from Renaissance to modern and contemporary music.

He has been guest of renowned festivals (Salzburger Festspiele, Ruhr Klavier, Spoleto Due Mondi, Bucarest Enescu, the Hong Kong Joy of Music Festival, Ravello, “Chopin” Duszniki-Zdròj, A.B. Michelangeli di Brescia e Bergamo, “Al Bustan” Beirut, “Mehli-Mehta” Mumbai) and in some of the most important concert venues in the world, including La Scala in Milan, Salle Gaveau in Paris, Konzerthaus in Berlin, Gasteig in Munich, Royal Festival Hall and Queen Elizabeth Hall in London, Santa Cecilia at “Parco della Musica” in Rome, Rudolfinum Dvořák Hall in Prague, Anfiteatro Simón Bolívar in Mexico City, Teatro Oriente in Santiago de Chile, Sumida Triphony Hall in Tokyo, Esplanade Auditorium in Singapore, among others.

He regularly plays with major orchestras (London Philharmonic, Tokyo NHK Symphony, Singapore Symphony, Hong Kong Philharmonic, Philharmonische Camerata Berlin, London Mozart Players, Czech Philharmonic Orchestra) and great conductors such as Vladimir Ashkenazy, Jean-Jacques Kantorow, Gianandrea Noseda, Andrew Parrott, Giuseppe Lanzetta and internationally acclaimed artists, including Sarah Chang, Giovanni Sollima, Sergej Krylov, Anna Tifu, Svetlin Roussev, John Malkovich.

He was the First Prize Winner of the Hong Kong International Piano Competition 2011, he also got the First Prize in other prestigious international piano competitions – such as: “Ferruccio Busoni” in Bolzano; The London Piano Competition; Porto International Piano Competition and Senda International Piano Competition. In 2005 he was praised for artistic merit by the Italian Ministry for Heritage and Cultural Activities.

He has many records on his credit (Sony, Warner, Naxos, Fontec and the Alpha Omega Sound Hong Kong, labels) and has been guest in various Radio-TV broadcasts, such as NHK-BS2 Tokyo, BBC London, Radio France Musique, Amadeus 103.7 Buenos Aires, Classic FM Radio Allegro Johannesburg, RTSI Lugano, RDP Radiodifusão Portuguesa, Rai Radio3 Italia, German Radio SWR2, Vatican Radio, WRR Dallas Classical Radio, Hong Kong Radio 4, Singapore Symphony 92.4FM, Fresno Valley Public Radio, etc.

Andaloro gives master classes in Italy and abroad (Tokyo Showa University, Fresno California State University, International Keyboard Academy of Thailand, Kuala Lumpur Chopin Society, Hong Kong Chopin Society) and has served as member of the jury in several international piano competitions.

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The First Prize winners of the Hong Kong International Piano Competitions

2016 - Luka Okros (piano) Luka Okros was born in 1991 in Tbilisi, Georgia. He made his national debut at the age of 5, before studying at the Tchaikovsky Conservatory in Moscow and later at Royal College of Music in London. On graduating, he won the Jaques Samuel Intercollegiate Piano Competition in 2014.

His competition successes include the Hong Kong International Piano Competition, t h e Va l e n c i a Itu r b i Pr ize I n te r n a t i o n a l Competition, Hannover Chopin International Piano Competition, Morocco Philharmonic International Piano Competition, and FAZ Audience Award 2019 at the International German Piano Award.

He made his USA debut at Carnegie Hall at the age of 18, and by the age of 25, he had performed in over 40 countries. In the last concert season, he has given solo recitals in Oslo, Vienna, Brussels, Helsinki, Budapest, Reykjavík, Tbilisi, Kyiv, Berlin, Paris, Berlin, Luxembourg, Amsterdam, Hong Kong, and Montevideo, culminating in a sell-out concert on London’s Southbank in July 2019.

His per formance has been praised by The Guardian’s Obser ver as “An impressive display of vir tuosic pianism”. Spanish newspaper Levante described him as “An Artist of the Sound”.

Highlights of the 2020/2021 season include per formances in, Finland, France, Iceland, Georgia, Germany, Hong-Kong, Hungary, the Netherlands, Switzerland, the United Kingdom.

In addition to his career as a pianist, Luka works on creating an album of his compositions. One of the pieces was filmed and premiered by Het Concertgebouw’s Sessions. Scores of his works are published by UK-based Master Music Publications. ​As a social media influencer, Luka’s Instagram page has nearly 100K followers.

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2019 - Honggi Kim (piano) Born in 1991, South Korean pianist Honggi Kim was educated at Yewon Middle School and later at Seoul Arts High School. From 2010 he took the piano classes of Prof. Chong-Pil Lim and Prof. Eun-Jung Shon at the Korea National University of Art in Seoul. In 2014, he took his piano studies to Munich, where he entered the class of Prof. Arnulf von Arnim at the University of Music and Theater in Munich. In 2016, he followed his teacher to the University of Music and Performing Arts in Frankfurt am Main. In 2018, He came back to Munich and started the new studying with Prof. Antti Siirala at the Hochschule fur Musik und Theater in Munich.

Honggi Kim has been awarded prizes at numerous major international piano competitions; 2013 in Xiamen (3rd prize) and Tongyoung ‘Isang Yun’ (1st prize and special prize), 2014 in Geneva (3rd prize). In April 2018 he won the 1st prize and two special prizes for chamber music and the best interpretation of a Spanish work at the 60th Piano Competition Jaen / Spain, in 2018 he was one of the semi-finalists at the Concours Géza Anda in Zurich, where the jury awarded him the Schumann prize and in 2019, he won the 1st prize of the 5th Hong Kong International Piano Competition.

He had many solo recitals in Germany and around Europe including the 54th Cervo Music Festival in Cervo, Italy, the 28th Amfiteatrof Music Festival in Levanto, Italy, Meissen Piano Festival in Dresden, , Klavierfestival in Boeblingen, concerts at the Melschede Schloss in Dortmund, Literaturhaus Herne Ruhr, Kiesel im k42 in Friedrichshafen, Grossen Rathaussal in Duderstadt, and many others. Winning the 3rd prize at the Concours International de Genève, in 2016 enabled him to go on an extensive concert tour to Asia including China, Japan, Singapore, Korea. also in Geneva. As a soloist, he gave concerts accompanied by the Orchester de la Suisse Romande, the Münchner Kammerorchester, the Fort Worth Symphony Orchestra, the Musikkollegium Winterthur, the Orchester Le Phénix, Orquesta Ciudad de Granada, Macau Orchestra and the Korean Symphony Orchestra.

Currently, he is based on Munich, Germany.

by Sihoon Kim

Although many concer ts have been still canceled during this corona-pandemic, he for tunately has been able to give many concerts in Korea such as the concert with the Korean Symphony Orchestra playing Saint-Saëns Piano Concerto No.5, the concert for the 250th anniversary of Beethoven’s birth with Ditto Orchestra playing Beethoven piano concerto No.1, the Summer music festival at the Seoul art center which he gave a solo-recital playing Schubert Piano Sonatas, a solo recital with the program including Granados, Ravel, Chopin as one of the series of ‘4 seasons of Gangwon’ in the festival ‘Music in Pyeongchang’.

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Anastasia Kobekina Anastasia Kobekina (cello) 'The absolute public favourite ... of the highest maturity' - Frankfurter Allgemeine Zeitung Described by Le Figaro as an "unrivaled musician", cellist Anastasia Kobekina is known for her breath-taking musicality and technique, her extraordinary versatility and her infectious personality.

With a vast repertoire ranging from baroque to contemporary music, playing on both modern and period instruments, Anastasia Kobekina has established herself as one of the most exciting cellists of the younger generation.

As soloist, Anastasia Kobekina per formed with worldwide renowned orchestras such as the Konzerthausorchester Berlin, Kammerphilharmonie Bremen, Wiener Symphoniker, the BBC Philharmonic, Kremerata Baltica, Mariinsky Theater Orchestra, the Moscow Virtuosi, the Tchaikovsky Symphony Orchestra Moscow, and under under the guidance of Krzysztov Penderecki, Valery Gergiev, Heinrich Schiff, Omer Meir Wellber, Vladimir Spivakov and Dmitrij Kitajenko.

Highlights of the 2020/21 season, include debuts with the Royal Liverpool Philharmonic Orchestra under Vasily Petrenko, the Orchestre National de Lille under Gabriel Bebe elea, the Barcelona Symphony Orchestra (OBC) under Kazushi Ono as well as her recital and chamber music debuts at the Verbier Festival and the Gstaad Menuhin Festival.

Anastasia Kobekina is prizewinner at renowned international competitions such as the TONALi Competition in Hamburg, the International Tchaikovsky Competition in St. Petersburg (2019) and the George Enescu Competition in Bucharest (2016).

Kobekina has been a BBC New Generation Artist from 2018-2021.

She has been participating in many festivals performing chamber music alongside artists such as Gidon Kremer, Yuri Bashmet, Giovanni Sollima, Denis Matsuev, Fazil Say, Vladimir Spivakov, and Andras Schiff.

As a recitalist, soloist and chamber musician, Anastasia Kobekina performs at the world’s major venues and festivals, including the Concertgebouw Amsterdam, the Lincoln Center, Avery Fisher Hall, Konzerthaus Berlin, Tonhalle Zurich, the Mariinsky Theater, Les Flâneries Musicales de Reims, Kronberg Cello Festival, Festival „Spannungen“ Heimbach, the Easter Festival of Aix-enProvence and Festspiele Mecklenburg Vorpommern.

Born in Russia into a family of musicians, she received her first cello lessons at the age of four.

Following the completion of her studies in Moscow she was invited to study at the Kronberg Academy in Germany. She continued her studies at the University of Arts in Berlin. She is currently a student at the Conservatoire of Paris and at the Frankfurter Hochschule (baroque violoncello class).

Kobekina performs on Violoncello Antonio Stradivarius from the year 1698 generously loaned by Stradivari Stiftung Habisreutinger.

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Simply Quartet Simply Quartet The Simply Quartet was founded in Shanghai in 2008 under the tutelage of Prof. Jensen Horn-Sin Lam. Originally an all-Chinese quartet, the group’s musical journey took it to Vienna in 2012. This resulted in a change in formation, in which two of the original players Danfeng Shen (violin) and Xiang Lu (viola) were joined by Norwegian cellist Ivan Valentin Hollup Roald (in 2016) and Austrian violinist Antonia Rankersberger (in 2018). They are currently studying with Prof. Johannes Meissl (Artis Quartet) at the Joseph Haydn Institute for Chamber Music at the University of Music and Performing Arts in Vienna.

Currently based in Vienna, the quartet has been focusing on the roots of the German and Austrian string quartet repertoire for the past few years. This is reflected in the group’s recent successes at two major international competitions. At the 2017 Haydn Competition in Vienna they were awarded First Prize in addition to the special prizes for the best interpretation of a work by Joseph Haydn, and for the best interpretation of the competition’s commissioned work. In February 2018 they won the First Prize in the International “Schubert and Modern Music” Chamber Music Competition. They have also given several concerts in the Haydn and Beethoven Houses in Vienna and in Baden, as well as in the Lower Austrian “Haydn Region”.

In addition to working on the major string quartet repertoire, the quartet is exploring new music from their member countries China, Austria and Norway. They also performed the premiere of Brad Lubmans’ string quartet Fleeting Moments at the Grafenegg Festival in 2017.

The Simply Quartet is becoming more and more active in the chamber music scenes in Europe and China, and especially in Austria. The last seasons have included performances at venues like the Wiener Musik verein and Konzerthaus, the Berlin Konzerthaus, the Stefanien Hall in Graz, Wigmore Hall in London, Kamermuziek Souvenir in Tilburg, the Emergents Festival in Barcelona, the Casa da Musica in Portugal, the Rachmaninov Hall in Moscow and the Vatican Museum. They also played at festivals such as the Pablo Casals Festival, the Shanghai Chamber Music Festival, the Styrian Chamber Music Festival, Allegro Vivo in Lower Austria (Waldviertel) and the Ghent Festival in Belgium.

The 2019/20 concert season will include performances at the Wigmore Hall (ECMA showcase), Banff Center of the Arts, the Concertgebouw Amsterdam, the Februari Festival in The Hague, the Wiener Musikverein and Konzerthaus, MuTh in Vienna, and concerts throughout Austria in connection with Jeunesses Musicales, as well as for the Italian Jeunesse Musicales with concerts in Bergamo, Milano, Modena and Fermo.

At the international string quartet competition “Quatuors á Bordeaux” in June 2019, the Simply Quartet was awarded the Grand Prix, which contains a three years world tour arranged by the CLB Management and Künstleragentur Vivace.

The Simply Quartet has also played music arranged with a new approach to music in mind. In 2017 they took part in the Musethica Festival in Zaragosa and Vienna, where they played at institutions such as schools for special needs pupils, prisons, homeless shelters and adult education centres in addition to traditional concert venues.

At the Concert House in Vienna they performed for children and young adults. This included a concert with beatboxing artist RoBeat.

The Simply Quartet became a member of ECMA (the European Chamber Music Academy) in 2017. Within this context, they travel to sessions all over Europe and are given an opportunity to work intensively with teachers such as Hatto Beyerle (Alban Berg Quartet), Alfred Brendel, Avedis Kouyoumdjian, Patrick Jüdt, Miguel Da Silva, Antonello Farulli and Michel Lethiec, in addition to being able to participate in numerous exciting workshops and enjoy lessons with Gerhard Schulz (Alban Berg Quartet).

In addition to the prizes mentioned above, the Simply Quartet can look back on a long list of prizes conferred at competitions like the Trondheim International Chamber Music Competition, the Irene Steels Wilsing Competition in Heidelberg, the Shanghai Chamber Music Competition, the Beijing International Quartet Competition, the Casinos Austria Rising Star Award 2017, the ECMA Prize, the Artis Quartet-Prize and the Wiener Classic Prize of the ISA (the International Summer Academy of the University of Music and Performing Arts Vienna). www.simplyquartet.com 73

Simply Quartet

Danfeng Shen (Violin) Danfeng Shen is one of the most o u t s t a n d i n g a n d ve r s e d v i o l i n i s t s of his gener ation. He has gained a remarkable reputation for his work both as a soloist and a chamber musician.

Consequently, he performs regularly on the great stages of the classical elite such as the Philharmonie de Paris, the Berliner Philharmonie and the Wiener Konzerthaus.

D a n f e n g w a s a f i n a l i s t o f t h e 8t h “ Fr i t z K r e i s l e r I n te r n a t i o n a l V i o lin Competition“, which was held in 2014.

As a founding member and first violinist of the Simply Quar tet, he won fir st prizes in the international “Carl Nielsen International Chamber Music Competition“ 2019 in Copenhagen, the “Quatuor á Bordeaux“ 2019, the “Franz Schubert and Modern Music“ 2018 in Graz, as well as the international “Joseph Haydn Chamber Music Competition“ 2017 in Vienna.

Danfeng has been living in Vienna since 2012. He is studying a double major in chamber music and solo violin at the Universität für Musik und darstellende Kunst Wien. His chamber music studies are under the tutorship of Johannes Meissl, and he first studied solo violin with Gerhard Schulz and now with Ulf Wallin. Danfeng has also worked intensively with Clive Brown and Ingomar Rainer in the field of historic practice.

At the age of three, Danfeng started to play the violin in his hometown Guilin, and was accepted to the Conservatory of Music in Shanghai at the age of nine where he was taught by Zhao Jiyang, Zhou Binyou and Zheng Shisheng. His first chamber music teacher was Jensen Lam. Danfeng plays a violin by Giovanni Battista Guadagnini from 1753, which is at his disposal thanks to a generous loan from MERITO String Instruments Trust GmbH. https://www.simplyquartet.com/danfeng-shen

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Simply Quartet Antonia Rankersberger (Violin) Antonia Rankersberger is an Austrian violinist, born in 1997. She began to play the violin at the early age of 5 and only 2 years later, performed Oskar Rieding´s violin concerto in b-flat minor under Nicolaus Harnoncourt.

Numerous radio and TV recordings followed. Antonia won the national Austrian music competition „Prima la musica“ multiple times and also was awarded 2nd prize at the International Szymon Goldberg Competition in 2015.

She was admitted to University for music and performing arts Vienna at the age of 11 where she studied with Veronika Schulz and Gerhard Schulz.

Since 2019, Antonia has been part of Ulf Wallin’s class. Besides her studies, she received important input in masterclasses with Ana Chumachenco, Ivry Gitlis, Peter Kovats and Eszter Haffner.

Antonia travelled to numerous countries to play concerts, such as Japan, China, India, Germany, Spain, Hungary and the UK. In 2017, she won the competition „Musica Juventutis“, held annually in Vienna and played her solo debut at Wiener Konzerthaus in March 2018.

Various crossover performances reflect her interest in other arts. Starting off with performing at Schauspielhaus Wien, in Tolstoi´s „Kreutzersonate“, she travelled to Korea in 2018 where she performed as a solo violinist alongside actor Bernhard Majcen and dancers from the Meta Dance Pr oje c t in a multime dia play by O t to Brusatti.

Since 2018, Antonia is second violinist in the Simply Quar tet. The quar tet h a s a l r e a d y b e e n awa r d e d fo u r f i r s t prizes at renowned chamber music competitions: At the International Carl Nielsen Competition in Copenhagen & t h e “ Q u a t u o r á B o r d e a u x” i n 2019, the “Franz Schuber t and the Music of Modernity” in Graz in 2018 and in 2017 at the International Joseph Haydn Chamber Music Competition in Vienna.

In the 2021/2022 season, the Simply Quartet will be one of the selected ensembles of the ECHO Rising Stars series with concerts at BOZAR Brussels, the Festspielhaus Baden Baden and the Concer tgebouw Amsterdam, among others.

Antonia plays a violin by Ferdinando Gagliano from 1770-1780 (Naples), made available to her by the Austrian National Bank. https://www.simplyquartet.com/antonia-rankersberger 75

Simply Quartet

Xiang Lyu (Viola) Lyu Xiang was born in Shanghai and received his first violin lessons at the age of eight from Weng Rongjin and Yu Lina. At the age of 13 he switched to the viola and later started to study at the Shanghai Conservatory of Music under Xidi Shen, Sheng Li and Jensen Horn sin Lam. In 2011 he began his solo viola studies at the University of Music and Performing Arts in Vienna under the tutorship of Wolfgang Klos. For graduating with distinction in 2019 he received the Award of Appreciation for outstanding ar tistic achievement from the Federal Ministr y of Education, Science and Research. Since 2011 he has been studying chamber music with Johannes Meissl. He participated in masterclasses with Nobuko Imai, Hatto Beyerle, Hariolf Schlichtig, Patrick Jüdt, Yuri Bashmet, Lawrence Power and Antoine Tamestit.

Since 2010 Xiang is a member of the Simply Quartet with which he has won numerous first prizes in international competitions such as: „Carl Nielsen Competition“ 2019 in Copenhagen, “Quatuor á Bordeaux” 2019, „Franz Schubert and Modern Music“ 2018 in Graz and the international „Joseph Haydn Chamber Music Competition“ 2017 in Vienna.

Xiang has performed as a soloist and chamber musician at numerous festivals including the Verbier Festival, Casals Festival, Gent Festival, Davos Festival, Ravenna Festival, the International Summer Academy PragueVienna-Budapest, “Viola Space” in Tokyo a nd “ V iva L a V iola” in S ha ng ha i. He worked on chamber music projects with outstanding musicians such as Michel Lethiec, Hagai Shaham, Jerome Pernoo and Thomas Hoppe. https://www.simplyquartet.com/xiang-lu

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Simply Quartet

Ivan Valentin Hollup Roald (Cello) Ivan Valentin Hollup Roald was born in Oslo, Nor way, in 1989. He received his master degree with Prof. Truls Mørk and Prof. Aage Kvalbein from the Norwegian Academy of Music in 2014. Currently he lives in Vienna, where he studies chamber music with Prof. Johannes Meissl at the Joseph Haydn Department of Chamber Music at University of Music and Performing Arts Vienna. He has taken master classes with Torleif Thedéen, Gavriel Lipkind, Lluis Claret, Dmitry Ferschtman, Maria Kliegel, and Frans Helmerson.

Ivan Valentin has performed chamber mu s ic w i th L a r s A n de r s To m te r, Torleif Thedéen, Liza Ferschtman, Henr i Dema r quet te, Jea n - Pier r e Wallez and Are Sandbakken. He has got two first prices in the chamber music competition at The Norwegian Academy of Music. Impor tant chamber music teachers have been Hat to Beyerle, Lars Anders Tomter, Are Sandbakken, Leif Ove Andsnes, Jens Harald Bratlie, Avedis Kouyoumdjian, Andrew Manze and the Vertavo String Quartet.​ Ivan Valentin was for many years member of the contemporary music ensemble, Aksiom, based in Oslo, where he has collaborated with some of the most promising contemporary composers of his generation.

Ivan Valentin plays on occasion as guest player in Oslo and Bergen Philharmonic Orchestras, the Norwegian Radio Orchestra and the chamber orchestra Ensemble Allegria. He has participated in festival and such as Arts Festival of North Norway, Risør Chamber Music Festival, The International Holland Music Sessions, Aurora Chamber Music festival and Norwegian Youth Chamber Music Festival. https://www.simplyquartet.com/ivan-roald

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The Orchestra

Hong Kong Philharmonic Orchestra Vision: To inspire through the finest music-making The Hong Kong Philharmonic Orchestra (HK Phil) is regarded as one of the leading orchestras in Asia. The orchestra’s annual schedule focuses on symphonic repertoire, with conductors and soloists from all over the world. The HK Phil runs an extensive education programme, commissions new works and nurtures local talent. Recording projects have included a CD for children narrated in Cantonese, works by Tan Dun and Bright Sheng conducted by the composers, and Wagner’s Ring Cycle. With Music Director Jaap van Zweden since 2012, the HK Phil has toured Europe, Asia, Australia, and on numerous occasions to Mainland China. Yu Long has been Principal Guest Conductor since the 2015/16 season. Lio Kuokman has been recently appointed as Resident Conductor. The HK Phil won the prestigious UK classical music magazine Gramophone’s 2019 Orchestra of the Year Award – the first orchestra in Asia to receive this accolade.

The Hong Kong Philharmonic Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region and is a Venue Partner of the Hong Kong Cultural Centre SWIRE is the Principal Patron of the Hong Kong Philharmonic Orchestra

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The Conductor Maestro Yves Abel (Conductor) A regular guest with the world’s greatest orchestras and opera companies, Yves Abel is Chief Conductor of the Nordwestdeutsche (NWD) Philharmonie Herford since January 2015. From 2005 to 2011 he has been Principal Guest Conductor of Deutsche Oper Berlin. From the season 2020/21 he is Principal Conductor of San Diego Opera.

In autumn 2017 he won the Rubies Award of Opera Canada, for his outstanding contributions to opera in Canada.

He is regularly invited by such theaters as Metropolitan Opera New York, ROH Covent Garden London, Wiener Staatsoper, Teatro alla Scala, Opéra National de Paris, Gran Teatre del Liceu de Barcelona, Lyric Opera of Chicago, San Francisco Opera, Bayerische Staatsoper Munich, Glyndebourne Opera Festival, Rossini Opera Festival di Pesaro, Teatro San Carlo di Napoli, Teatro Massimo di Palermo, Teatro Nacional de São Carlos Lisboa, New National Theatre Tokyo.

In concerts he has performed with such important orchestras as Copenhagen Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, San Francisco Symphony Orchestra, Netherlands Philharmonic Orchestra, Orchestra Haydn di Bolzano, Orchestre National de Lyon, Toronto Symphony Orchestra, Montreal Symphony Orchestra, Orquestra Nacional do Porto, Filarmonica Arturo Toscanini di Parma.

As Franco-Canadian, he has a particular affinity with the French repertoire and has won significant critical acclaim for his achievements as founder (in 1988) and Music Director of L’Opéra Francais de New York, with whom he has rediscovered rare French operas and also performed the world premiere of Dusapin’s To be Sung. Also for this activity, in 2009 he was awarded the title “Chevalier de l’Ordre des Arts et des Lettres” by the French Government.

His wide opera repertoire includes, among others, Le nozze di Figaro (Deutsche Oper Berlin), Così fan tutte (New National Theatre Tokyo), Il turco in Italia (Opéra di Montecarlo, Teatro Nacional di Lisbona), Ermione (Dallas Opera), L’italiana in Algeri (Wiener Staatsoper), Il barbiere di Siviglia (Metropolitan Opera, Teatro dell’Opera di Roma), La cenerentola (Rossini Opera Festival), Don Pasquale (Deutsche Oper Berlin), I Capuleti e i Montecchi (Bayerische Staatsoper), Norma (ABAO di Bilbao), La traviata (ROH London, Deutsche Oper Berlin, New National Theatre Tokyo), Il Trovatore (Seattle Opera), Simon Boccanegra (Deutsche Oper Berlin), Otello (Opera de Oviedo), Faust di Gounod (Teatro San Carlo di Napoli), Werther (Opera de Oviedo), Les contes d’Hoffmann (Metropolitan Opera, Théâtre du Capitole de Toulouse), Carmen (Deutsche Oper Berlin, Wiener Staatsoper), Madama Butterfly (Liceu de Barcelona, Wiener Staatsoper, Teatro dell’Opera di Roma, San Francisco Opera), La bohème (Deutsche Oper Berlin), Hänsel und Gretel (Opera National de Paris), Dialogues des Carmélites (Deutsche Oper Berlin), Pelléas et Mélisande (Opera de Oviedo), L’elisir d’amore (Canadian Opera Company of Toronto).

His recordings include Thaïs with Renée Fleming and Werther with Andrea Bocelli (Decca), Madama Butterfly with the Philharmonia Orchestra (Chandos), two discs of French arias - one with Susan Graham and the City of Birmingham Symphony Orchestra (Erato) and the other with Patricia Petibon and the Orchestra of the Opera National de Lyon (Decca) – and Romantique, a disc of romantic arias with Elīna Garanča (Deutsche Grammophon).

Due to the pandemic emergency, in autumn 2020 he cannot return to Royal Opera House London, where he would have had to conduct L’elisir d’amore.

LATEST PERFORMANCES: Tosca at ABAO Bilbao; concerts with Orchestra Filarmonica Arturo Toscanini, Orchestra del Teatro Lirico di Cagliari, Orchestra Haydn di Bolzano, NWD Philharmonie at Concertgebouw Amsterdam, and with Orchestre Symphonique de Mulhouse, I Pomeriggi Musicali Orchestra in Milan; La traviata in Vancouver and at Opera di Roma; Romeo et Juliette at San Francisco Opera; Hamlet at Deutsche Oper Berlin; Les pêcheurs de perles at Liceu de Barcelona; Carmen at San Diego Opera.

FORTHCOMING PROJECTS: Samson et Dalila at Chorégies d’Orange; Madama Butterfly in Hong Kong; concerts with Hong Kong Philharmonic and with Orquesta Sinfónica de Navarra; Lucrezia Borgia in Oviedo; Un ballo in Maschera in Pamplona; Romeo et Juliette, Suor Angelica and Gianni Schicchi in San Diego; Hamlet in Hong Kong; Otello at Rossini Opera Festival in Pesaro; La forza del destino in Sevilla.

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Colleen Lee Colleen Lee (piano) “….magnificent, heavenly touch…filled with poetic and profound emotion”- Il Giornale di Vicenza Since winning the 6th Prize at the 15th International Frederic Chopin Piano Competition, Colleen has achieved international recognition and performed extensively around the world in solo recitals and with orchestras including the Israel Philharmonic Orchestra, Warsaw Philharmonic Orchestra, Galacia Royal Philharmonic Orchestra, China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Wuhan Philharmonic Orchestra, Shanghai Symphony Orchestra, Hong Kong Sinfonietta ( Artist Associate 2010-2011 ) and Hong Kong Philharmonic, among others. She made her début with London Symphony Orchestra under Sir Simon Rattle in September 2019.

Lee has been a featured artist at several international music festivals including the International Chopin Festival in Duszniki, International Keyboard Festival in New York, Bowdoin International Music Festival and Musicus Fest in Espoo, Finland, Shanghai New Music Week and Joy of Music Festival. Her performance of the “Magic Piano and Chopin Shorts” animation series at the 42nd Hong Kong Arts Festival had garnered rave review.

As an enthusiastic chamber musician Lee frequently appears in chamber music concerts and has also collaborated with renowned artists including Dimtry Sitkovesky, Ning Feng, Kang Dong-suk, Trey Lee, Daniel Müller-Schott, Alexander Kniazev, Sergei Nakariakov and the Shanghai Quartet. She is also a member of the RTHK Chamber Soloists.

Born in Hong Kong, Lee started her piano lesson at the age of four. She studied under Professor Eleanor Wong at the Hong Kong Academy for Performing Arts and Hochschule für Musik, Theater und Median in Hannover with Arie Vardi. She won First Prize at the 3rd Seiler International Piano Competition and the Dorothy Mackenzie Artist Recognition Award. She was also prize winner of the 15th International Competition for Piano and Orchestra in Cantú, the 1st Hong Kong International Piano Competition, the Pro Musicis International Award, Gina Bachauer International Artist Competition, Sendai International Music Competition.

Her discography includes an all Chopin album recorded on the Pleyel Piano released by the Fryderyk Chopin Institute, and a complete Scarlatti Sonatas album by Naxos. She was also featured on the Hong Kong Sinfonietta DECCA album This is Classical Music 3.

In recognition of her outstanding achievements in music and in the promotion of arts and culture, she has been awarded Certificate of Commendation by the Secretary of Home Affairs, Commendation for Communit y Ser vice by the Hong Kong Government and Young Artist Award by the Hong Kong Arts Development Council.

Currently Lee is the Honorar y-Ar tist-in-Residence of The Education University of Hong Kong and on piano faculty of HKAPA and Hong Kong Baptist University.

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Rachel Cheung Rachel Cheung (piano) 2017 Van Cliburn International Piano Competition Finalist & Audience Award Winner, Pianist Rachel Cheung is hailed as “a poet, but also a dramatist” displaying “the most sophisticated and compelling music-making” (The Dallas Morning News). She won over audiences and critics alike as a finalist at the 2017 Van Cliburn International Piano Competition with “stunningly imaginative” (Musical America) interpretations marked by “flights of both beauty and virtuosity” (Theater Jones) and was awarded the Audience Prize by online vote.

A l s o a Yo u n g S te i nway A r t i s t , s h e c o n t i n u e s to b u il d a reputation for an elegant stage presence, giving sensitive and refined performances across three continents. Rachel has appeared with the St. Petersburg Philharmonic, Hong Kong Philharmonic, Jerusalem Symphony, Hong Kong Sinfonietta, Sydney Symphony, London Chamber, and Fort Worth Symphony Orchestras, collaborating with conductors including Edo de Waart, Vladimir Ashkenazy, Jaap van Zweden, Leonard Slatkin, Sir Mark Elder, Christopher Warren- Green, and Nicholas McGegan.

Rachel is also interested in play/conducting; following her Prix du Jury win at the 2017 Play-Direct Academy for her performance of Beethoven’s Fourth Piano Concerto with the Orchestre de chambre de Paris, she play/conducted the same concerto with the Hong Kong Philharmonic Orchestra in March 2019. She was also invited to return to the Play-Direct Academy in 2019 as a member of the jury.

She has performed in recital at the Auditorium du Louvre in Paris, Elbphilharmonie in Hamburg, Steinway Hall in London, Weill Recital Hall at Carnegie Hall, Richmond Hill Centre for Performing Arts in Toronto, the Philharmonie de Paris, and in other cities across the United States, Europe, and Asia.

As an active chamber musician, Rachel has worked with world-renowned musicians including violinists Latica Honda-Rosenberg and Ning Feng, violist Vladimir Mendelssohn, cellists Jan-Erik Gustafasson and Trey Lee, mezzo-soprano Virpi Räisänsen, clarinetist Michel Lethiec, the Brentano String Quartet, and Quatuor Leonis.

She also enjoys community residencies and outreach events, which allow her to make a deeper connection with audiences and share her passion of storytelling through music. Recent and upcoming highlights include concerto performances with the Hong Kong Philharmonic Orchestra and Jaap van Zweden, National Philharmonic of Ukraine and Vitaliy Protasov, and on tour with the Asian Youth Orchestra and Joseph Bastian; two collaborations with the Hong Kong Ballet, her first experience with dance; residencies with RTHK Radio 4 and the Chamber Music Academy Heidelberger Frühling; and recitals throughout Europe, Asia, and North America.

Rachel was featured in the Hong Kong Philharmonic’s first live broadcast concert in July 2020, and was invited to contribute performances to StageHub, a new online concert platform connecting artists with audiences worldwide.

Born and raised in Hong Kong, Rachel graduated with first class honors at the Hong Kong Academy for Performing Arts under the tutelage of Eleanor Wong, and later studied with Peter Frankl at the Yale School of Music, where she was awarded the Elizabeth Parisot Prize for outstanding pianists.

Additional competition honors include prizes at the Leeds, Chopin, Horowitz, Gina Bachauer, and Geneva International Piano Competitions.

Her first concert DVD was released by VAIMUSIC in 2007, and her first CD, under the Alpha Omega Sound label of the Chopin Society of Hong Kong, was released in 2009. Rachel was awarded Artist of the Year (Music) by the Hong Kong Arts Development Council in 2019. Rachel is also an amateur photographer; she documents her travels with her analog camera, particularly enjoying the ability to capture the character and feeling of each moment.

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Richard Bamping

Richard Bamping (cello) Richard Bamping has been the Principal Cellist of the HK Phil since 1993. He has performed with many of the finest musicians of recent history—Lord Yehudi Menuhin, Leonidas Kavakos, Mstislav Rostropovich, Carlo Maria Guilini, Valery Gergiev, Leonard Bernstein, Lorin Maazel, Sir Colin Davis and Claudio Abbado, to name but a few.

Bamping has performed many of the staples of the solo cello repertoire with orchestras from Europe to the Far East. He has a great passion for playing chamber music with friends and colleagues whenever he gets the chance.

Bamping’s cello, dated 1674 was made in Cremona by Andrea Guarneri and is one of only nine surviving examples of his work.

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Wang Liang

Wang Liang (violin) Currently Second Associate Concer tma ster of the Hong Kong Philharmonic Orchestra, Wang Liang was born in Shenyang, China. He started playing the piano at the age of four, and a year later started the violin under the guidance of his mother, Concertmaster of Liaoning Symphony Orchestra.

Displaying flare and talent from an early age, Wang entered the junior section of the Shenyang Music Conservatory in 1998 and was top of his class. During his school days Wang twice won First Prize in the violin competition. In 2004 h e wa s awa r d e d a f u ll s c h o l a r s h ip to study at the Central Conservatory of Music under renowned Professor Lin Yaoji. While still a student he was appointed Concertmaster for various orchestras and music festivals. In 2007 he was invited by Sadao Harada (former cellist of the Tokyo String Quartet) and Rainer Kussmaul (former Concertmaster of the Berlin Philharmonic Orchestra) to join the Music Academy directed by Maestro Seiji Ozawa, who praised Wang’s performance highly. This led to tours across Japan as concertmaster. In 2008 Wang was invited to attend the Pacific Music Festival in Japan.

An active soloist, Wang has made a number of concerto appearances including performances with the HK Phil, Shenyang Symphony Orchestra, Central Conservatory Of Music Orchestra, Shaanxi Symphony Orchestra and Shanghai Summer Music Festival. He played the solo in The Red Violin at the 2021 Le French May arts festival movie in-concert. Recently he finished his own online recording project of the 24 Caprices by Paganini.

Wang Liang plays a 1788 Joseph Gagliano violin, donated

by The Ladies Committee of the Hong Kong Philharmonic Society.

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Emanuil Ivanov

Emanuil Ivanov (piano) Emanuil Ivanov was born in 1998 in the town of Pazardzhik, Bulgaria. From an early age he demonstrated a keen interest and love for music. He regar ds the presence of symphonic music, especially that of Gustav Mahler, as tremendously influential in his m u s ic a l u p b r ing ing du r ing his childhood. He star ted piano lessons with Galina Daskalova in his hometown around the age of seven. He later studied in and graduated from the Bertolt Brecht language high school in Pazardzhik. Ivanov studied with Bulgarian pianist Atanas Kurtev from 2013 to 2018. He is currently studying on a full scholarship at the Royal Birmingham Conservatoire under the tutelage of Pascal Nemirovski and Anthony Hewitt. His studies are also generously supported by the Denis Matthews Memorial Trust.

Ivanov has won prizes in competitions such as “Scriabin-Rachmaninoff”, “Pavel Serebryakov”, “Liszt-Bartok”, “Young virtuosos” and “Jeunesses International Music Competition Dinu Lipatti”.

In 2019 he was awarded Second prize at the Alessandro Casagrande international competition in Terni, Italy and, a few months later he won First prize at the Ferruccio Busoni competition in Bolzano. He was also awarded the honorary Crystal lyre and the Young Musician of the Year – some of the most prestigious awards in Bulgaria.

His participations in masterclasses include those of Dmitri Bashkirov, Dmitri Alexeev, Stephen Hough, Vladimir Ovchinnikov, Peter Donohoe, etc.

In February 2021, at the height of the Covid-19 pandemic, Ivanov performed a solo recital in Milan’s famous Teatro alla Scala. The concert was livestreamed online and is a major highlight in the artist’s career.

Emanuil Ivanov has also performed at many festivals in Bulgaria and has also given solo recitals in France, Italy, Germany, Austria, Cyprus, the United Kingdom and Poland. He has played with leading orchestras in Bulgaria and Italy.

During the 2021/2022 concert season Ivanov is scheduled to perform in some of the world’s most prestigious concert halls, including Herkulessaal in Munich and the Great Hall of the Saint Petersburg philharmonic.

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Volker Werner

Volker Werner (sound engineer) Volker Werner studied sound engineering (Tonmeister) at University of Music and Performing Arts Vienna, at University of Miami, Florida and Banff Centre in Canada. In 2007 with his colleagues Philipp Treiber and David Menke, he founded his company, PDV Records, specializing in sound systems for large-scale concert events, audio and video production as well as film music. As a sound designer he worked on projects like the opening of the Vienna Festival, Disney in Concert or Opera in the Quarry. He produced musical TV events such as the national Whitsunday concert from Stift Melk or the Easter Concert from St Stephen’s Cathdral in Vienna and has worked in the music team for cinema productions such as Mission Impossible.

Volker Werner worked with renowned classical music artists such as Nikolaus Harnoncourt, Diana Damrau, Edita Gruberová and Michael Schade as well as world famous orchestras: the Berlin Philharmonic, the Vienna Symphonic or the Mahler Chamber Orchestra. Volker Werner is teaching at University of Music and Performing Arts Vienna and has been involved in the development of 3D audio formats in collaboration with Fraunhofer Institute. He was part of the development team for the Amadeus Active Acoustics System, debuting with the London Symphony Orchestra and inaugurating the Andermatt Concert Hall with the Berlin Philharmonic. He is responsible for the 3D sound system at the new James Bond Museum “007 Elements” on top of the Gaislachkogl.

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The Writer of the Programme Notes Chang Tou Liang Singapore native Chang Tou Liang is a family physician in private practice. He also aspires to classical music-related endeavours, including being a music reviewer for The Straits Times (over 2400 publications to date), former Ar tistic Director of the Singapore International Piano Festival (20042008), amateur pianist, amateur singer (10 years as a tenor in the Singapore Symphony Chorus), co-founder of the Singapore Symphony Orchestra Piano Marathon, co-host in the Symphony 92.4 FM syndicated musical talk-show Bluf f Your Way Through Classical Music, annotator of the Hong Kong International Piano Competition and The Joy of Music Festival (Hong Kong), and seat-warmer in innumerable committees of numerous Singapore arts organisations.

In 2011, he was conferred a Special Recognition Award by the Singapore government’s Ministr y of Communication, Information and the Ar ts for contributions to music and the arts. In 2016, he was the unanimous winner of the 4th Husum Piano Quiz, an honour previously held by Marc-André Hamelin.

He also made a cameo appearance in the Jan Ö. Meier directed docu-movie PianoCrazy, released on DVD (Danacord label) in 2017. His work as a music reviewer has been documented in the Cambridge History of Music Criticism (2019 Edition). In 2020, he was invited to judge at the Thailand Steinway Youth Piano Competition. His blog Pianomania (pianofortephilia.blogspot.sg) has an international following with over 1.5 million reads. He is married to Janet, and they have a 19-year-old son Shan Ming and maintain a household of 9 rescued cats.

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Ticketing Information Numbered tickets for the 10 Performances part of the Hong Kong Joy of Music Festival – 2021, which will be taking place, either live or streamed live, at the Hong Kong City Hall Concert Hall: IN ALL CASES, PERFORMANCES WILL BE AT 20:00 (Hong Kong time) For LIVE PERFORMANCES in Hong Kong, at the HK City Hall Concert Hall (which will be streamed live, in real time, to Vienna: All tickets at HK$ 100 (single price).

For LI V E PER FOR M A NCES in Vienna, which w ill be st r ea med l ive (in real time) to the Hong Kong City Hall Concert Hall: All tickets at HK$ 50 (single price).

Counter booking now open, available at all URBTIX Outlets, Internet and by Telephone.

URBTIX Internet Ticketing: www.urbtix.hk Credit Card Telephone Booking: (852) 2111 5999 Ticketing Enquiries: (852) 3761 6661 Programme Enquiries: (852) 2868 3325

Tickets are also available for sale from the office of the Society from now and until the 7th Oct. 2021.

Send us an e-mail to: afreris@netvigator.com or call us at: Tel.: (+852) 2868 3325 For further details, refer to our website: www.chopinsocietyhk.org Ticketing and Programming enquiries: Tel.: +(852) 2868 3325 (10am – 6pm daily) Mobile: +(852) 9027 1429 FOR THOSE WILLING TO ATTEND ALL 10 PERFORMANCES PART OF THE FESTIVAL, we are offering a FESTIVAL PASS for HK$ 400 This offer is only valid for tickets bought from our office.

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As precautionary measures given that we are still going through a COVID 19 pandemic, the following rules will need to be observed to attend the performances at the Hong Kong City Hall Concert Hall: - Wearing masks.

- To keep with social distancing measures, we will be making available only 50 % of the seating capacity of the City Hall Concert Hall, therefore only selling every other seat of each row of seats in the auditorium.

- The minimum age of admission to the Auditorium will be 8 years old, since we understand that it might be difficult for younger children to understand and observe the above rules and therefore find this experience an unpleasant one.

- Should the accompanying adults consider that a child, between 6 and 8 years old, will be interested enough in the programme to be presented on that evening, please, contact the office of the Society and should we all understand that this is the case, the Society will issue an admission letter to be presented on entering the hall.

- We will be keeping the exchange of printed material to the absolute minimum, therefore programmes are not going to be printed. The detailed programme can be read in the website of the Society and full programme notes will also be available to be read before attending the concerts.

- The title of each of the pieces being performed will be shown in screens located on each side of the stage.

Hong Kong venue:

HK City Hall Concert Hall 5 Edinburgh Place, Central, Hong Kong

Tel: +852 2921 2840

Vienna venue:

Future Art Lab & Fanny Hensel Hall mdw – University of Music and Performing Arts Vienna Anton-von-Webern-Platz 1, 1030 Wien, Vienna

Tel: +43 1 711 55

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The Chopin Society of Hong Kong Ltd is very grateful to the following sponsors who have made this Festival possible.

Sponsors

PATRONS OF THE CHOPIN SOCIETY OF HONG KONG SIR MICHAEL KADOORIE AND FAMILY Sponsorship in Memory of Muriel, The Lady Kadoorie

The Hong Kong Economic and Trade Office, Berlin (HKETO Berlin)

The Chopin Society of Hong Kong wishes to thank Alvaro Pierri for his help in establishing and developing this cultural link between Hong Kong and Vienna

In partnership with:

mdw – University of Music and Performing Arts Vienna

Supported by

The Chopin Society of Hong Kong Ltd. Room 1909, 19/F., St. George’s Building, No.2 Ice House Street, Central, Hong Kong Tel: (852) 2868 3325, (852) 2868 3387 Mobile: (852) 9027 1429 (Anabella) Fax: (852) 2868 1994 Email: info@chopinsocietyhk.org (General) / afreris@netvigator.com (Anabella) Website: www.chopinsocietyhk.org Also find us at:

www.instagram.com/afreris/

@HKIntPianoCompJofMFest